When Ramesh Sippy announced the name of Sanjay Leela Bhansali as the Best Director for Bajirao Mastani, hearts bled for S.S. Rajamouli and comments poured in about whether this happened because the latter was a rank outsider who challenged the status quo of Bollywood.
On last count, ahead of the release of the film in China, Japan and Korea, Bahubali had already crossed Rs 600 crore as the biggest ever blockbuster from India, while Bajirao Mastani grossed Rs 350 crore.
Here’s an analysis of what could have gone in favour of a seasoned director like Sanjay Leela Bhansali (which holds some key lessons for Rajamouli):
Bajirao Mastani has been in the works for as long as Sanjay Leela Bhansali started making films, and hence looked more elaborate, meticulous and stylish. The script was made a decade ago, chiselled over and again while waiting for the perfect starcast, from Aishwarya Rao and Salman Khan, until the dream trio of Priyanka Chopra, Ranvir Singh and Deepika Padukone came in.
Despite criticism from historians, the movie won the respect of viewers for sticking to the main story of the Peshwa and his episodic love affair with Mastani, while elevating the character of his first wife who remained loyal to her errant husband.
The National Award has perhaps taken the Oscar route of rewarding a director who made a magnum opus based on the life and times of a warrior, but on the proven standing of a successful novel in Marathi.
That is what separates it from Baahubali which was elaborate but not as nuanced in characterisation, depth of story, and visual grandeur as Bajirao. By recognising Bhansali over Raja-mouli, a message has clearly gone out: Make ambitious films but back it with good writing.
Baahubali had the technical wizardry and the razzmatazz for an epic war film but lacked the tautness of a historical film or its authenticity. The story written by the director’s father Vijayendra Prasad, had the trappings of a war film with characterisation loosely borrowed from the Baahubali story of King Bharata and his rivalry with his menacing brother.
It was an interesting story that raised the imagination but looked more cinematic and more convoluted of a typical formula film set in exuberant costumes and grandiose settings. It lacked the finesse that was clearly evident in Bajirao Mastani.
Even the war-sequence, which became the forte of Baahubali, had its failings; the concentration of the director was on the scale of effort and the bestiality of emotions, not on the relevance of weaponry of the times. Bajirao showcased shorter battles that packed more intensity and style.
Bhansali was shot inside real palaces and forts and the special effects in the battlefields were all brilliantly morphed into the natural scenes — you wouldn’t make out one from the other.
By contrast, Baahubali relied excessively on special effects to enhance the movie moods. Every-thing from the kingdom of Mahishmati to the duets to the palaces were soaked in visual effects.
In short, the jury chose Baahubali as the best film but when it comes to the craft, Bajirao was a better choice that could offer lessons to Raja-mouli as he has commenced shooting for the final part of Baahubali.
The films that missed out: Here’s our list of films that are definitely worth a watch
Talvar (Hindi):
One of the most well-received films of 2015. Directed by Meghna Gulzar and produced by Vishal Bharadwaj, it gives us a visceral experience in playing the moral judge of who is the victim or the wrong-doer in the case that shook our perceptions of the upper-crust of the society – the infamous Aarushi Talwar case.
Katyar Kaljat Ghusali (Marathi):
A tale of greed and jealousy between two musical families who wanted to dominate the music landscape. The story by Purushottam Darvhelkar has music by Shankar Ehsaan Loy and has three characters who revel in music, but meet their match in a brilliant climax.
Nirbhashito (Bengali):
Based on the life of Bangladeshi writer Taslima Nasreen, this is actor Churni Ganguly’s maiden directorial venture. It gives a mix of caustic and fictionalised flavour to the troubled life of the writer who has been an inspiration to many writers world over.
Premam (Malayalam):
Starring Anupama Parameswaran and Nivin Pauly, it breaks the rules of film grammar in allowing visualisation of scenes beyond conventional rules of editing. The cinematography is immersive and unusually colourful for a Malayalam film.
Manjhi The Mountain Man (Hindi):
A true story of an improbable mountain-climber who makes a 360-feet path through a mountain after his wife falls ill. Nawazuddin Siddiqui plays the title role along with Radhika Apte in this much-talked about movie of last year.
