baji rao ii was the king at the time of bajirao.
baji rao ii was the king at the time of bajirao.
who was the king at the time of bajirao?
baji rao ii
in the early 18th century, the court of maratha king chhatrapati shahu needs a new "peshwa", the equivalent of a prime minister. ambaji pant nominates a young bajirao. as a test, bajirao is asked to split a peacock feather with an arrow. he succeeds and is given the "peshwa" title. ten years later, his wife kashibai is visited by her widowed friend bhanu, whose husband, accused of spying, was ordered to be executed by bajirao. she predicts that just as she yearns for her husband, kashibai will yearn for bajirao.
bajirao mastani
at the end of 2015, the music from the soundtrack garnered views from critics. sankhayan ghosh of "the hindu" wrote: "there are few filmmakers as musical as sanjay leela bhansali, who took one step forward in taking full control over his ambitious audiovisual canvas in "bajirao mastani". while the powerful ‘gajanana’ amplified a crucial sequence to a great extent, it was the left-out-from-album bajirao theme, the war cry-like chant ‘ji ji re baji ji ji’, that gives the film an electrifying energy. the album favourites included ‘deewani mastani’, ‘ab toh jaane na doongi’, ‘mohe rang do laal’ and ‘aaj ibadat’. whereas karthik srinivasan for the same newspaper opined, "sanjay leela bhansali finally got his musical tuning right in bajirao mastani". at the "scroll.in" news, the soundtrack album was tied atop (to the soundtrack of tamasha), manish gaekwad stated: ""bajirao mastani" as one of the top five scores of the year. the music, by writer and director sanjay leela bhansali, combines its unique blend of sounds with its theme. "deewani mastani" fuses elements of marathi folk with sufi, establishing its character's exposure to both forms. the war cry "malhari" and the devotional "gajanana" are weapons in bajirao's armour. the album also meshes semi-classical with qawwali in "aayat" while "mohe rang do laal" has pandit birju maharaj interspersing shreya ghoshal's vocals with kathak "bols" (mnemonic syllables) "albela sajan" from "hum dil de chuke sanam" (1999), gets a makeover with a sitar and chorus interlude. "pinga" and "fitoori" incorporate a lavani tempo with bollywood trimmings to produce a fantastic melange." in her compilation for hindustan times, juhi chakraborty mentions: "classical number "albela sajan" has been revisited many times over the years and bhansali, who used the track in his superhit "hum dil de chuke sanam", brought out another version of the song- this time for his period love saga bajirao mastani. while the "hum dil de chuke sanam" track was more soft, this one is more cheerful and a number of singers."
bajirao mastani (soundtrack)