Bajirao mastani is a conflict movie which later turns into a love story Bajirao (Singh) and his army come to the defense of Bundelkhand, which is under siege by the Mughals, after the soldier princess Mastani (Padukone) follows him down and asks his assistance. The pre-war vistas are breathtaking, with one establishing shot evoking John Ford's Monument Valley and the thrilling image of an army charging downhill at dusk with lit torches (which turns out to be a decoy).
Bajirao and Mastani waste little time falling dramatically, madly in love once Bundelkhand is successfully defended (he cauterizes the wound she got in battle using his knife, which is a very Bhansali way of showing us they're made for each other). He leaves his dagger behind when he embarks on a military mission shortly after. Such behavior is equivalent to marriage in 18th century Bundelkhand. It's all Mastani needs to leave her house and make her way to the peshwa's palace. Bhansali has clearly had enough of legend lovers:
The only way to up the ante on Ram-Romeo Leela's and Juliet antics was for the leader of a state trying to establish Hindu dominance over India to fall in love with a Muslim warrior.
Singh's passionate, even sadistic swagger, while well-known, is a wonderful match for the cocky, fearless figure he's portraying. Padukone adds to her growing list of willful rebels; though she ends up in chains (cue Anarkali references), the plot is propelled by her single-minded pursuit of her love. Chopra starts out a little flat, but after her character decides to acknowledge the other woman in her husband's life, she comes alive. Azmi is just as enthralling as Suraya Pathak Kapoor in Ram-Leela as the terrifying grandmother. Even when they're at their most compelling, there's one person on film who stands out more than the rest, and that's Bhansali.
A very ambitious love to strive another day.
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