Kashibai and mastani relationship quiz

5 facts about Bajirao Mastani you didn’t know

kashibai and mastani relationship quiz

A few years later, Kashibai and Bajirao's eldest son Balaji Baji Rao, also [5] He wanted to show the relationship between Bajirao and Mastani because it was. 1) Kashibai and Mastani have only met once, and that too on a formal occasion! So this explosion of sound and dance never really happened. Bajirao and Mastani's relationship was and remains as scandalous as it is You find yourself rooting for Kashibai, almost forgetting that Bajirao.

Just grace under fire. Having never met Bhansali, they started researching on their own by visiting Pune and Satara and learnt about Maratha architecture. Several years later, when they heard about the revival, they met Bhansali, who was impresses by their research and presentation.

Bajirao Mastani Review: Ultimately, Sanjay Leela Bhansali’s Magnum Opus Is Worth The Wait

Once the number of sets and location shots was decided, the production moved forward. Along with the art directors, nineteen art assistant directors, including architects, designers, sketch artists and props artists, were involved.

The two biggest sets were the exact replicas of Shaniwar Wada and the Aaina Mahal, both of which were "high on grandeur and intricacy". Lotus motifs on mud-clad walls and handmade textures were used to give the set a realistic appearance. The set was given a lotus-like design, with walls, ceiling and floor made out of handmade mud embedded with sparkling mirror designs.

More than design stencils were used to decorate the hall.

kashibai and mastani relationship quiz

Mastani Mahal was built as an amalgamation of Rajput and Maratha architecture. Mastani's room in Bundelkhand was crafted using a mix of Persian, Mughal and Rajput motifs and architecture.

Bajirao Mastani Review: Ultimately, Sanjay Leela Bhansali’s Magnum Opus Is Worth The Wait

Only earthen diyas and torches were used to light the sets. Almost 30, oil lamps were made for the film and suits of armour were designed for the war scenes. The armour and headgear weighed between ten-twenty kilos and two kilos, respectively. The props were made in Mumbai and had to be taken to Rajasthan, the outdoor location. The costumes for extras and war extras were done by Ajay and Chandrakant, respectively.

She was given a lehenga for just one scene. A doctor was called and filming stopped for some time but she later resumed the shoot. Chatterjee found the war sequences challenging and faced many difficulties while filming in the deserts of Rajasthan. Wanting to break with norms, Bhansali wanted a night-time war sequence; lighting a large, open field became very difficult and visibility issues were inevitable. Bhansali wanted very clear images.

Instead, they decided to shoot these scenes in the morning, aiming for a twilight look.

kashibai and mastani relationship quiz

Kaushal has said extensive research was done before filming the war sequences, and a rough graph was designed nine months before the filming.

Chopra and Padukone had to rehearse for several days before shooting. More than twelve people would run around the set with candles and oil to relight them. Sound designer Nihar Ranjan Samal said they had to be careful that sounds of vehicles and honking did not make their way into the recording.

A number of scenes needed re-recording because of some disturbance. Prasad Sutar was the visual effects supervisor; the effects took eight months and a team of sixty artists to create.

The war close-up shots were filmed in a studio but were later mixed with the war scenes to form a detailed scene. The climax scene took around twenty days to complete with fine details. Splashing waves, falling rain falling except for the water falling on Singh and the night sky were created in post production.

Turaz and Prashant Ingole. Vijayakar of India-West gave the album 4. Special care was taken to avoid leaks during production; everything was done in secrecy. You can manage them any time from your browser settings. Once you are 18 we promise to show you this content but not till then! Ltd Hey there, are you 18 years or above? Login to verify your age. Connect with This will not post anything on Facebook or anywhere else.

Ltd Advertisement Dec 18, at Ultimately, the wait was worth it. Not just because Priyanka Chopra, Ranveer Singh and Deepika Padukone headline a superbly talented cast, but because if there was ever a time to tell Bajirao, Kashi and Mastani's story, it is now.

Bajirao was a great warrior and it was during one of his campaigns that he effectively won Mastani, the daughter of a Bundela king and his Persian wife. While Kashi was the first wife and the mother of Bajirao's heir, the second wife Mastani proved to be something of a soulmate.

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She was a good enough warrior to ride into battle alongside Bajirao. Off the battlefield, she was a gifted singer and dancer. A still from the film. In the rigidly Hindu society of Maharashtra's Chitpavan Brahmins, Bajirao choosing to favour Mastani over Kashi was all sorts of taboo. From the few historical records that exist, we know that Bajirao's family didn't approve of Mastani and tried to separate them.

Mastani was even imprisoned on one occasion, but eventually, she was released and remained by Bajirao's side as his second wife till his last day. When Bajirao died, some say Mastani committed suicide while other accounts say she passed away soon after him.

Kashi would raise Mastani's son after Mastani's death, even though he was raised a Muslim, which is undeniable proof that Mastani had been accepted. It's easy to see why this story has delighted so many writers in Maharashtra. Bajirao and Mastani's relationship was and remains as scandalous as it is progressive. The liberalism of Bajirao, Mastani and Kashi makes this historical account startlingly modern. Today, when accusations of love jihad and communal tensions surround us, this unflinching love story between a devout Hindu warrior and a non-Hindu princess although her son was raised a Muslim, Mastani probably belonged to the Pranami sect that didn't recognise caste or religious divides is one that bears repeating.

Bhansali is not known for subtlety, but the way he criticises religious orthodoxy without speechifying is among Bajirao Mastani' s finer qualities.

WhatsApp Riddle: Find Mastani Among Kashibai

The director is unabashedly against anti-Muslim paranoia and he cleverly weaves his liberal beliefs into the dynamics of the love triangle and political drama.

Unsurprisingly, Bajirao Mastani is visually spectacular, but tottering when it comes to facts and history. Accuracy has never been Bhansali's strength — in this film, he blithely shows Maheshwar in Madhya Pradesh and claims it's Satara in Maharashtra — but the opulence and detail with which he recreates Bajirao's kingdom is beautiful enough to convince most people to ignore the lack of historicity.

Bhansali has a long-standing fascination for love triangles, as is obvious from the fact that four of his eight films feature this element. He's also fond of grandiose tragedy, where lovers must pine and be united in death.

Particularly since the facts are scarce, Bhansali is free to take Bajirao and Mastani's history and fit it into the mould of his brand of romance. And so, like in practically every Bhansali film, the hero is a quirky but dashing gent. The heroine is feisty but elegant, wearing fulsome skirts and heavy jewellery.