Archive for category Hindi – Bollywood Movie Reviews
પ્રેમચંદ મુન્શી ની વાર્તા નિર્મલા ની સમીક્ષા – #Gujarati & English Review of Premchand Munshi’s Nirmala
પ્રેમચંદ મુન્શી ની વાર્તા “નિર્મલા” ધારાવાહી ની સમીક્ષા
પ્રેમચંદ મુન્શી હિન્દી સાહિત્યના ખુબ મોટા અને જાણીતા સાહિત્યકાર રહ્યા છે. તેઓ એક નિષ્ણાત અને વિશેષજ્ઞ વાર્તાકાર છે અને તેમની વાર્તાઓ ધારાવાહી સ્વરૂપે યૂટ્યૂબ માં જોઈ શકાય છે. વાર્તામાં બોધ હોય તે બાળકોને ગમે પણ મોટાઓને તેવી વાર્તાઓ પસંદ ન પડે. પરંતુ મુન્શીજી એ પ્રકાર ના વાર્તાકાર છે કે તેમની વાર્તામાં બોધ હોય પરંતુ તેઓ ક્યારેય તે બોધ ને સમજાવતા નથી. વાંચનાર પોતાની મેળે અને પોતાની સમજ પ્રમાણે પુરેપુરો બોધ તારવે કે થોડો તારવે કે જરાય નહિ તે વાંચનાર ઉપર છે.
નિર્મલા કરીને તેમની વાર્તા છે જેમાં એક 45 જેટલી ઉંમરના વિધુર એક નાની 17વર્ષ જેવડી કન્યા જોડે વિવાહ કરે છે અને આર્થિક મુશ્કેલી માં પડેલી મા તે વિવાહ કબુલ કરે છે. આ સાન 1925માં લખાયેલ આ વાર્તામાં તેમની સુધારાવાદી કાર્યસૂચિ દેખાય છે. લગ્ન કરનાર વિધુર ના 5, 8 અને 15 વર્ષ જેવડા ત્રણ છોકરા છે. નિર્મલા વિધુર જોડે ખુબ વિનયથી વાત કરે છે પણ તેમનાથી અળગી રહે છે. ત્રણ છોકરાઓની તે ખુબજ સંભાળ રાખે છે અને ત્રણેય છોકરાઓ તેને મા કહીને સંબોધે છે. છોકરાઓ જોડે નિર્મલા નો સબંધ ઔપચારિક નથી અને સરખી ઉમર ને કારણે તેઓ એકબીજા જોડે ચર્ચા અને મસ્તી મજાક કરે છે અને 15 વર્ષના છોકરા પાસે નિર્મલા અંગ્રેજી શીખે છે. પોતાના 15 વર્ષના છોકરાને નિર્મલા સાથે જોઈને વિધુરને ઈર્ષા આવે છે અને તે છોકરાને હોસ્ટેલ માં મોકલે દ્યે છે જ્યાં પૌષ્ટિક આહાર ન મળવાથી અને બીમારીમાં બરોબર સારવાર ન મળવાને કારણે છોકરો જીવન મરણ વચ્ચે જોલા ખાય છે. ત્યારે વિધુર નિર્મલા ને આજીજી કરે છે કે તું છોકરાની જોડે કૈક વાત કર અને હોસ્પિટલ ના કાર્યકર્તાઓને કહે છે કે આ તેની મા છે. વિધુર ના એ બે વાક્યમાં કરુણા વહે છે અને વાચકો તારવી શકે છે કે વિધુર છોકરો ગુમાવવાની અણી ઉપર આવ્યા છે અને તેમને પોતાની ભૂલો સમજાય છે.
1920 થી 1940 ના સમય દરમ્યાન ભારતીય સમાજ માં સુધારાવાદી પરિવર્તન ની જરૂર હતી તે મુન્શીજી ની વાર્તાઓ માં દેખાય છે. બોધ આપ્યા વગર, સામાજિક માન્યતાઓ, ધોરણો અને સામાજિક વાતોને મુન્શીજી એ પ્રમાણે રસિક રીતે રજુ કરે છે કે તેમની વાર્તાઓ આજે પણ વાચકોને પસંદ આવે છે. તેમની વાર્તાઓમાં ગામડાઓના ઠાકુરો અને બ્રાહ્મણ પંડિતો દ્વારા થતું ગરીબ ખેડૂતો અને કામદારોનું શોષણ, અસ્પ્રુશ્યોની સાથે થતો અન્યાય અને ઉતરતી ગણાતી સ્ત્રીઓની સાથે થતી કરુણ ઘટનાઓ જોવા મળે છે.
Short English Synopsis Of Premchand Munshi’s Nirmala on Youtube
Premchand Munshi has been an incredible and excellent storyteller. He wrote in Hindi, during 1920s to 1940s time frame. In his stories, Munshi shined a light on subjugation and plight of women, exploitation of poor farmers and daily wage workers by wealthy landowners and learned Brahmins and holy men in the villages and inequities and abuse suffered by the untouchables.
In his short story, Nirmala which is available on Youtube, Munshi shines a light on plight of women. About 16 or so years old poor girl is married off to a widower of her father’s age. Widower has three boys, ages 5, 8 and 15. Nirmala is very respectful towards her husband but she is uncomfortable with intimacy, is formal with him and maintains some distance. She takes very good care of the three boys and they are also respectful towards her and address her as a mother. However, being of similar age, the boys are also close to her and joke with her and she is also trying to learn English from 15 year old. When the father sees his own son with his young wife, in jealous rage, he sends his son away to a hostel. Due to non-nutritious food and illness, son falls ill and is on the verge of dying. At that time, the widower requests Nirmala to talk to the son in the hope that maybe he may respond to her and he explains to the hospital personnel that Nirmala is their mother. In two simple sentences at the end, uttered with distress and shame, one can see the regret that the father is feeling due to his various mistakes, when he is on the verge of losing his beloved elder son.
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews, Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Movie Reviews on September 28, 2021
प्रेमचंद मुंशीजी की गोदान पर आधारित “तहरीर” धारावाहिक की समीक्षा
“गोदान” मुंशी प्रेमचंद का एक प्रसिद्ध हिंदी उपन्यास है। सन १९३६ में प्रकाशित हुआ यह उपन्यास हिंदी साहित्य के महान उपन्यासों में गिना जाता है। यह उपन्यास की बात करने से पहले मुंशीजी के बारे में थोड़ी बाते करते है. हिंदी साहित्य की दुनिया में मुंशी जी का स्थान बहोत उत्कृस्ट लेखकों में है. उन्होंने लिखे हुए उपन्यासमे गोदान, कर्मभूमि, गबन, मानसरोवर, ईदगाह जैसी प्रसिद्ध और लोकप्रिय किताबे शामिल है. उन्होंने १२ से अधिक प्रसिद्द किताबे लिखी है और ३०० से ऊपर छोटी कहानिया लिखी है और उनकी किताबो का अंग्रेजी और कई विदेशी भाषाओंमे अनुवाद किया गया है.
सन १९६३ में “गोदान” के ऊपर हिंदी चलचित्र बनाया गया था जिसमे राज कुमार, कामिनी कौशल, महमूद और शशिकला ने अभिनय किया है.
सन 2004 में, मुंशीजी की गोदान के ऊपर आधारित, गुलज़ार द्वारा निर्देशित, टीवी श्रृंखला, “तहरीर” दूरदर्शन के ऊपर पेश की गई थी जिसमे पंकज कपूर और सुरेखा सीकरी ने अभिनय किया है.
यह 1930 के दशक के ग्रामीण भारत में बस्ते हुए किसानों के जीवन पर केंद्रित एक उत्कृष्ट कहानी है। ये गरीब और बड़े पैमाने पर अशिक्षित किसान गरीबी और कर्ज के चक्र में फंसे हुए हैं। जमींदार, ठाकुर, पंचायत के सदस्य और ब्राह्मण पुजारी सहित उच्च वर्ग के विभिन्न सदस्य इस तथ्य का लाभ उठाते हैं कि किसान उनकी बड़ी इज्जत करते हैं और उनका गहरा सम्मान करते हैं। वास्तविक और काल्पनिक अपराधों के लिए, किसानों पर जुर्माना लगाया जाता है, उनके जानवरों (और कभी-कभी उनके खेतों) को अत्यधिक ब्याज दरों पर दिए गए ऋण के बदले में जब्त कर लिया जाता है. इस प्रकार पीढ़ियों से गरीबी का चक्र जारी रहता है। कभी-कभी ये किसान ईर्ष्या के कारण अपने ही वर्ग के सदस्यों का निशाना भी बन जाते हैं. और जब एक किसान पूरी तरह से कर्ज में डूब जाता है और उस गरीब आदमी से निकालने के लिए कुछ भी नहीं बचा है, जिसने अपनी युवावस्था खो दी है तभी उसे अपनी प्यारी जवान बेटी की शादी बूढ़े आदमी से कराने के लिए प्रेरित किया जाता है।
यह धारावाहिक विशेष रूप से एक किसान होरीराम और उसकी पत्नी धनिया और उनके तीन बच्चों के इर्द-गिर्द केंद्रित है। किसान होरीराम की भूमिका में पंकज कपूर और उनकी पत्नी धनिया की भूमिका में सुरेखा सीकरी का अभिनय अति उत्कृर्ष्ट और शानदार है.
“Guilty” is a Hindi Bollywood movie directed by Ruchi Narain and written by Ruchi Narain, Kanika Dhillon and Atika Chohan. Released in 2020, it focuses on the events that transpired at the peak of the #MeToo movement, in 2018.
Nanki (Kiara Advani) writes lyrics for a band in which her boyfriend, VJ Pratap Singh (Gurfateh Singh Pirzada) is the lead singer. While the upper class, English speaking hot couple inspire jealousy and admiration from their classmates, Tanu (Akanksha Ranjan Kapoor), a Hindi speaking girl from Dhanbad, who openly hits on VJ, then accuses him of raping her as his friends watched on. The accusation comes via a tweet that leads to a social media storm with appropriate hashtags.
As is often the case in Indian society, everyone gets involved with half baked partisan opinions and judgments. The college students are divided; with many accusing Tanu for her flirtatious come-ons and revealing clothing, while others stand by her and participate in protests in her defense. Same is true in VJ’s case and he also has support of his politically connected parents, powerful politicians and socialites.
At no point, has the film lost sight of the fact that this is a complex matter. Even as you get manipulated into judging the characters and as the story begins to unravel you change sides several times, you also begin to realize how nuanced gender power issues are. You grapple with issues such as, should a girl be judged for being flirtatious, accused of inviting unwanted sex; could she have sex with someone she craves and then cry rape; can an upper class young man who has the attention of hottest girl on campus force himself on any other girl, could he have had consensual sex and then be accused of rape for profit and attention; could these issues be quashed with money and pressure?
The film focuses on the crucial subject matter, very pertinent in Indian society and it certainly brings forth some key issues into the forefront like this is a subject matter for the society to tackle, instead of putting entire responsibility on women and slut-shaming or blaming women for clothing choices, and treating women with paternalistic condescending advice on how to protect themselves. However, as much of the movie focuses on he said, she said narrative, it does not move the dialog forward with confidence. While it covers the intellectual and moral basis of arguments, it does so with some trepidation, not with authority.
Despite some of its flaws, Guilty inspires discussion on an extremely pertinent subject, deeply interwoven with culturally prescribed gender roles. I rate the movie 4.2 on a scale of 1 to 5, with 5 being excellent.
Thappad begins with the routine family life of Amrita (Taapsee Pannu) a happily married housewife and her husband, Vikran (Pavail Gulati). Vikram works in a reputed company and is aggressively focused on climbing the corporate ladder that will ultimately take him to London, as the head honcho. Amrita is aware of how much his career means to Vikram, and is fully focused on supporting her husband. Her life revolves around looking for his comfort and attending to his mother, Sulochana (Tanvi Azmi).
Vikarm is elated when he is selected for the desired role and throws a celebration party to his friends. During the celebration, he gets the news that another white man is deemed more appropriate and Vikram would be reporting to him. Vikram has a heated argument with one of his superiors Rajhans, who was attending the party. When Amrita comes in the middle and tries to stop him for escalating the argument, Vikram’s anger turns on her and he slaps her. This thappad begins a chain of events and forms the core theme of the movie.
This movie is a MeToo moment for me and is personal for me in several ways, although for me, it wasn’t the first thappad and lack of apology. But after I let go of the first thappad after tearful apologies, the apologies became less frequent and genuine and then disappeared, and thappads became more routine. In a changing India, Amrita refuses to brush off this single incident of violence and public humiliation. When she questions her life choices and finally her marriage, Vikran propelled by anger and bad advice, transforms a no contest, mutual consent divorce into a full blown court battle. That was another MeToo moment for me and a reminder of the time when my appeal for mediation was thrown out and the accusations and fake accusations were launched, casting me as an abuser and mentally unstable. It is easy to be charming in public and in periods of happiness, but as a society and in family units, we need to ask a question, how do people react under stress and outside of the public eye, and do women get to bear the brunt of family stress and do they lose their right to be happy, one smile at a time?
The movie does not make light of a thappad, nor does it make a thappad bigger than what it is. Instead, what the film does is to serve as a thoughtful reminder that abuse should not be an acceptable aspect in a relationship and love, respect and happiness are closely tied together. Amrita says, मुझे वहां रहना नथी जहाँ पे मेरी वेल्यू न हो and she says, “I want to be happy and when I say, I am happy, I don’t want to look unreal”. Even while making a compelling case for a woman’s right to genuine happiness, the movie does not downgrade into men bashing thoughtlessness. And even when the movie focuses on happiness which would be at a higher level in Maslows’s hierarchy of needs, the film does not fail to show the struggles of women like Amrita’s maid, who are battling domestic violence at home on a daily basis, while working in low level jobs.
What is working so beautifully in the movie is that the dialogs are natural and low key. Huge kudos to Director Anubhav Sinha and co script writers Sinha and Mrunmayee Lagoo to not just stir up passions but make this a strongly worded film of significance. Tapsee Pannu is fabulous in conveying the impact of her experience and her dilemma without getting acrimonious, loud or overbearing. Her restrained acting with impactful dialogs serves as moments of reckoning about the assumptions and expectations surrounding women’s roles in Indian society. The entire cast including Kumud Sharma (Amrita’s adoring father), Pavil Gulati (Vikram), Ratna Pathak Shah (Amrita’s mother), Tanvi Azmi (Amrita’s mother in law), Maya Sarao (Amrita’s lawyer) and Geetika Vidya Ohlyan (Amrita’s maid) show the restraint and deliver a powerful film. On a scale of 1 to 5 (with 5 being perfect), I rate the film as 4.9.
Good Newwz is yet another beautiful comedy coming out of Bollywood, after a series of lovely recent comedies, including #LukaChuppi #SkyIsPink and #ZoyaFactor . Current genre of Bollywood films depict real issues facing Indian society, in a light-hearted manner.
In Good Newwz, two couples are trying to get pregnant, with some professional medical help. Deepti (Kareena Kapoor Khan) and Varun Batra (Akshay Kumar) are upscale, high-flying married couple, engaged in their respective careers, while trying to conceive a baby, after 7 years of marriage. Meanwhile, Honey Batra (Diljit Dosanjh) and his wife Monika (Klara Advani) are “the Batras from Chandigarh” and are trying to get pregnant, after 6 years of marriage, numerous tries to conceive, and a couple of miscarriages. Both couples soon find out they are “happily pregnant” —— or are they?
Director Raj Mehta maintains a tight pace, keeps preaching and emotional drama lighthearted and to a minimum, and presents the challenging situation, as naturally as possible. It’s a beautiful movie. On a scale of 1 to 5, with 5 being excellent, I rate the movie 4.6.
Inspired by the steamy bestseller “Fifty Shades of Grey”, the movie “Book Club” offers for the fainthearted, the best comedy, minus any actual S&M action. A group of senior women, Vivian (Jane Fonda), Diane (Diane Keaton), Sharon (Candice Bergen) and Carol (Mary Steenburgen) choose to read the steamy bestseller and the result is a superbly funny comedy. These women are not the only high profile star cast. The men who enter their lives also make a fine cast and also deserve a special mention; they are, Mitchell (Andy Garcia), Bruce (Craig T. Nelson), Arthur (Don Johnson), George (Richard Dreyfuss), Tom (Ed Begley Jr.).
The desire for intimate companionship for seniors and perhaps for women more than men, is often relegated to the trash heap, in the channels of intimacy. While in some cultures, desire for intimacy among women may be a matter of amusement or may be discouraged in the espoused interest of safety, in others, it is actively frowned upon, banned and even punished.. (Watch my review of a similar Bollywood movie “Lipstick Under My Burkha” http://bit.ly/2p5b2Xm ). Cold showers is a remedy often prescribed in India, for any “wayward thoughts of intimacy”.
But it is not just in the realm of physical intimacy that this film delivers. Loneliness and craving for a companion who may be at similar stage in life, is often one of the most significant need among senior citizens. The film scores on addressing both of these issues, the significance of companionship and the need for physical intimacy, and shows how they sometimes (but not always) go hand in hand. Very likely these women have been doing book club for years. Maybe the right impetus, right circumstances did not arrive until this moment when all of them are intrigued with the thought of exploring the idea of intimacy and provide mutual encouragement. It matters but little, as long as they seized the moment.
Using the steamy book as a stepping stone, these women explore the aspect of physical intimacy; and at first kicking and screaming and later gently, glide into the cozy realm of emotional intimacy. They all at first, seem to concur with Vivian that “emotional connection is highly overrated” and make a pact “we shall not go gentle into the good night”. Brilliant and witty use of metaphors supplies an endless stream of humor. These feisty, fearless, independent women who provide companionship, solace and support to each other, fight the focus on softer, gentler aspects of intimacy with the opposite sex, for as long as they could. But in the end they find that physical intimacy is that much more satisfying and joyous when they are or if they are also able to find emotional connection. Even those among this feisty group, who can’t find intimacy, get it. Sharon sums up about love (and it is rephrased here), love does not happen because the person is intelligent or pretty and it’s not the sun or the moon or all the meaning we load onto it; love is just a word, until someone gives it meaning, and you find that someone when you put yourself out there. \
It is a beautiful movie and on a scale of 1 to 5 with 5 being excellent, I rate it 4.7 – in theaters now.
Directed by Alankrita Shrivastava, 2017 Bollywood film, “Lipstick Under My Burkha” gives an intimate, powerful glimpse into the lives of four women; Rihana (Plabita Borthakur) draped in burkha at home, helps her parents in sewing burkhas, but outside she does a quick identity change and steps into her jeans and sings Led Zeppelin songs; Shireen (Konkona Sen Sharma) lives the story of a submissive wife with her chauvinistic husband at home and excels at her secret job as a saleswoman during the day, Leela (Aahana Kumra) works as a beautician and finds solace in sex, and Usha (Ratna Pathak Shah) is the respected Buaji to her family but in the lonely hours of the night, dreams of men and has clandestine phone sex.
Stories of these women unfold in the midst of a background narrative of Rozi, a fictional heroine in one of the racy romance novels that Buaji hides in her religious tomes and reads in her spare time. These four women live their lives on the the thin line between reality and dreams. They have to routinely lie, cheat and steal to rob few moments of joy from their unbearable lives.
Their stories are poignant and touching and at the same time, ordinary. For the most part, Indian society exhibits a great deal of hipocrisy. While hipocrisy in Indian society extends to practices and observances around religious rituals, behavior around elders, and observance of class and caste, most prominent and often shocking hipocritical norms and double standards are observed in expectations and prescribed rules of behavior specific to each gender. While a man lusting after a younger woman or having an affair outside his marriage may be looked down upon, it is considered much less severe than if a woman may have committed these offences; and how a society punishes a woman for the same offense if often far more harsh. Similarly, while most boys and men have freedom to wear clothes they choose, and have wide degrees of professional freedom, it is simply not so for women.
This movie offers a window into the lives of ordinary women who strike deals with societal restrictions on a daily basis with alternating periods of acquiescing to the norms and restrictions and determinedly enjoying periods of bliss when they can. But the beauty in this movie is that it is also poignant in where this journey ends for these women, in the movie. While it is unclear how life will eventually unfold for each of these women, these ostracized women come together as comrades; they talk, laugh, and read and discuss Rozi’s fictional story. What is abundantly clear is that it is not the system that will change to accommodate them. The change will have to come from them and from their greater understanding and support of each other; that change only begins with dreams but it will take enormous commitment and courage on the path to greater fulfillment of the promise.
As Rihana reads last few pages of Rozi’s story, she comments
ye story bhi juth bolti hai, hamari life kharab ka deti hai
Translation: this fictional story also tells us lies
and Usha responds ……………
juth bolti hai shayad sapne dekhne ki himmat deti hai
Translation: It tells lies but gives us courage to dream
And narration continues……….
Khidki ki salakhe ab rozi ko rok nahi sakti. Rozi ne bar savare, aansu ponche aur chokhat ke bahar kud padi. pinjde me bandh sapno ki chabi akhir rozi ke dil ke andar hi thi.
Translation: Bars on the window can’t stop Rozi any more. Rozi combs her hair, dries her tears and jumps out. Photo of dreams locked inside the cage was after all inside Rozi’s heart.
Sometimes dream is a genie that is hard to push back in a bottle. As Dr. Martin Luther King famously said, “I have a dream” that started the process of change in the American society. Dreams help us imagine the possibilities and pave the path for courage and commitment required to change what has been until then normal. This is a beautiful movie and on a scale of 1 to 5 (with 5 being excellent), I rate it 4.8. This review is slightly late for women’s day but still in the window of women’s history month :). Wishing all warrior women who drive the change on a daily basis and all courageous men who dare to dream of fair and inclusive society, a very happy women’s month.
Directed by Milan Luthria, film Badshaho is set during India’s emergency era of 1975, about 27 years post independence, when a few laggard prince and princesses were still struggling to hide their collections of gold, silver and other precious artifacts. During that time Rani Gitanjali’s (Ileana D’Cruz) palace in Jaipur is raided and she is arrested for withholding gold without declaration.
Rani Gitanjali is a political maverick and she understands how the game is played in politics. She believes that despite government seizing her gold, it is more likely to fall in the hands of corrupt political leaders, especially the one she has spurned. She gets the news that the gold is to be transferred via road to Delhi in a truck. Gitanjali arranges with her trusted prior bodyguard Bhawani Singh (Ajay Devgan) to intercept the transfer and seize it back from Major Seher Singh (Vidyut Jamwal), the officer in charge of the transfer. Bhawani Singh recruits help from Gitanjali’s trusted friends and helpers, Sanjana (Esha Gupta) Guruji (Sanjay Mishra) and Dalia (Emraan Hashmi).
The journey between Jaipur and Delhi is marked by many twists and turns, obstacles, and revelations of heart thumping secrets. Emran Hashmi has done a fabulous job and keeps us riveted with his banter and jokes. Esha Gupta and Sanjay Mishra also give great performance. As always, Ajay Devgan’s performance suits the role of more serious, slightly angry, goal focused hero. So focused he is in serving, he says, जुबान और जान सिर्फ एक ही बार जावे. Ileana’s performance is also good. Specifically telling is her slightly awkward, distant stance every time she interacts with her subjects. Story is fast moving and holds the interest. Unfortunately, it seems like the budget ran out before this riveting drama can be brought to a meaningful climax. The end feels abrupt and takes away from what could have been a thrilling end where not only corruption meets justice but trust and friendship are rewarded. Perhaps the waiting airplane could have been put to good use to create such an end!
On a scale of 1 to 5 with 5 being excellent, I rate this movie 4.2
“Punjab Nahi Jaungi”, a beautiful film coming out of Pakistani Cinema is brilliantly directed by Nadeem Beyg. Not only the accent is lovely to listen to but the dialogues are beautiful. Writing credits go to Khalil-ur-Rehman and Qamar.
Soon after Fawad Khagga (Humayun Saeed) returns home to Faisalabad after earning an MA, he plunges headlong into finding and then acquiring his “Heer”. Coincidentally, Amal (Mehwish Hayat) has also just returned to Karachi after completing her studies in London. Fawad’s mother makes the journey to welcome Amal, daughter of close family friends and instantly likes Amal and plans with her husband and father-in-law to ask for her hand for her son, Fawad. Fawad receives Amal’s photo and instantly falls in love with her. Meanwhile his cousin Durdana (Urwa Hocane) is in love with him and unsuccessfully tries to win his love.
Here Amal rejects Fawad’s proposal as she explains to her grandmother, Bibouji that she is against feudalism. Lest anyone imagines that this will turn into a typical feminist movie where a young woman fights the system to win her love, let me assure you that is not how the story proceeds. On the other hand it is also not a non-feminist movie. Sorry for the double negative.
So you may ask, “is it a feminist movie or is it not a feminist movie”? In truth, it is a love story where a woman is stronger and smarter than any men she encounters. In fact, all women are stronger than the men around them. While there is one short moment where Amal tries to make her husband a CEO of the company she grows, she does not try to dumb down herself and no one in her immediate circles thinks any less of her. It is a story where she does not have to take on the feudal system that may seek to keep her closed behind a veil. And yet when the men in her life misbehave, they learn fast about the fury of the woman scorned. Any attempts that are made by the family members are not to change HER but HIM. As the misbehaving man is explained that mistake is his and therefore he has to accept her decision because he can’t succeed going against her because after all.. “ महोब्बत में औरत से कोई जीता नहीं है और नफरत में औरत से कोई हारा नहीं है.”
While the message is deep and the story is poignant at times, it is also a comedy with many funny moments and fantastic dialogues, delivered at the right moments. One such dialog is about a moment of infidelity. At one point, Amal’s husband feels envious of her business success and turns to the villainess, holds her in intimate embrace and says “please help me”. It would have been the start of infidelity but it got interrupted by Amal’s entry. Amal is furious and insists that he is guilty because his intention was bad. She takes her case to her family and her husband’s family. Almost everyone rises to her defense against her husband and quotes the sentence “please help me” as evidence of the infidelity that would have happened.
Nadeem Bayg’s direction is flawless. The story of respect for women is beautifully told without over dramatization or examples of grave injustice to women. Maywish Hayat wins over hearts with her graceful, effortless performance.
On a scale of 1 to 5 with 5 being excellent, I rate this movie 4.8 .
Scattered among pomp and circumstance, palaces and palkhins, jewels and rose petals, is a romantic tale of love and loss, religious disharmony and scenes of gruesome military battles, excellent dialogs and typical Bollywood songs. But lest you are expecting a historical saga, Sanjay Leela Bhansali’s film does not deliver much of history. In fact, Shiv Sena took a huge objection to “distorting of facts” including of Bajirao dancing to the Bollywood song “Vaat Lavli” and they appealed to hold the release until some scenes were cut from the movie, to no avail.
Jumping off of the historical character, the film focuses on Peshwa Bajirao Ballad (Ranveer Singh), a brave warrior of the 18th century Maratha regime, and his relationship with the warrior princess Mastani, (Deepika Padukone). History attests to the fact that Bajirao’s second wife Mastani never found acceptance in her new home because she had a Muslim mother, and her chief opponent was Bajirao’s widowed mother (played by Tanvi Azmi).
Lest we are too quick to judge that despite his rock solid relationship with his first wife Kashibai (Priyanka Chopra), Bajirao not only fell in love but exchanged oath of marriage with Mastani, marriages with several women were not uncommon among the 18th century royals. (Also as per historical facts, Mastani did not just come on her own seeking the love of a man who had touched her heart, but instead was promised in marriage, by her father to Bajirao, as his appreciation for the help Bajirao gave in saving his kingdom). Mastani was a brave and courageous woman in her own right and her dialogues “मस्तानी ने अपनी तक़दीर खुद लिखी है”, “इश्क़ की इबादत के लिए इजाजत की जरुरत नहीं है” and tongue in cheek response to her mother-in-law sending her Ghunghroo to establish her reputation as a courtesan “हमें तो आपकी हर चीज़ अज़ीज़ है, चाहे घुंघरू हो या आपका बेटा” do great justice to her character.
Religious tolerance and acceptance had also existed and relationships existed between Hindu and Muslim families. Emperor Akbar’s marriage to Jodhabai and also Mastani’s own Musalman mother’s marriage to her Rajput father (and the mother’s willingness to become sati on the funeral pyre with other women of her husband’s janana, if he would be killed in a battle), are examples of such relationships. However, as Moghal kingdom’s differential treatment of Hindu subjects and their ambitions were on the rise, Hindu kings also aspired to unite and consolidate a Hindu India. It is unfortunate that women not only bear the brunt of communal divisions, religious discord, and prejudices but often do so at the hands of other women, a fact that still rings true today..
Overall, I give an A+ for the dialogues “हमने मस्तानीसे महोबत की है, अईयाशी नहीं”, जो महबूब को देखे और खुदा को भूल जाये वोह है इश्क़”, “पराये से क्या शिकायल करनी, घाव तो अपने के चुभते है “, “अगर हमने उन्हें जाते हुए देख लिया तो हमारी जान भी चली जाएगी उनके साथ “, “हम देखना चाहते है दिल्ली के तख़्त पर मराठा का लहराता ध्वज”. Kudos to script and dialog writers, Nagnath S. Inamdar, Sanjay Leela Bhansali, and Prakash Kapadia. But in the end, Bajirao is not a phenomenal historical story as it could have been, but yet another Bollywood film in the mold of lovers being kept away by villains. I rate the movie as 3.8 on a scale of 1 to 5, with 5 being excellent. This is a movie that you will enjoy, if you go in with the right expectations.