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In many ways, the film is the story of Radha, Krishna, and Rukmini. Even after years of marriage we were madly in love. .. The similarity of lyrics, the presence of the fountains, the sitting women playing veena, . I was somehow reminded of Kabhi Alvida Naa Kehna where Dev says, "Alvida nahi, alvida. Actor Dev now promoting Bengali film “Kabir” in Kolkata new on April 6, I had a very good relationship with Shakil: Actress Popi. Rukmini's performances in 'Champ', 'Cockpit' opposite Tollywood heartthrob Dev earned her a lot of fame and fan-follwing. With critics.
We usually remember the 8th avatar of Vishnu as the cute little butter thief, or as the charioteer guide of Arjun in Mahabharat, who helped the warrior find his path in the midst of battle. But Krishna is so much more than that. Here are some things about the legendary mythological character that most people probably don't know.
Krishna has names. Krishna had 16, wives. He rescued 16, women from the clutches of a demon Narakasura who had forcibly kept them in captivity in his palace and freed them. However, they all returned to Lord Krishna as none of their families were ready to accept them back and so he married them all to protect their honour. However, it is said that he never had any relations with them.
Krishna was cursed by Queen Gandhari, which led to his death and the destruction of his dynasty. The Kurukshetra war left all of Gandhari's sons dead. The sets and the costumes represent the characters and their emotions. Cheeteh ki chaal, baaz ki nazar aur Bajirao ki talvar par sandeh nahi karte, kabhi bhi maat de sakti hai.
When Bajirao is in his camp, there are bronze carvings of the eagle and the cheetah. The map and the flag of the kingdom have the eagle and the cheetah in it. In Shaniwar Wada, his room has the same images and statues.
11 Interesting Things About Krishna That Most People Don’t Know
Even Bajirao's dagger, the one that he gives to Mastani, has a cheetah on its end. This reinforces the idea that not only Bajirao was skilled in sword-fighting, but had these other two qualities—a remarkable celerity, and a razor-sharp vision. If Bajirao was a cheetah, Mastani was a lioness in the jungle. When a lioness gives birth, there are no midwives and nurses, likewise, Mastani does not require any help, and gives birth to her son without the services of a midwife.
The map has cheetah and baaz The costumes, too, told us about the characters. Mastani is always dressed in lighter colors, with the only exception of red. All her costumes had a single-colored palette, and had lighter shades. Whether it is the Deewani Mastani song, the blue lehengas, the yellow lehengas, the white lehengas, everything seems to be in lighter shades, and they do not have a contrasting color in them. On the other hand, Kashibai's sarees are full of dark colors, and they are not single-colored, but have many, many colors in them, such as a contrast of purple, blue, yellow, and much brighter than Mastani's.
It is an indication of the many worldly emotions of Kashibai from love, happiness, joy, fear, while Mastani is only interested in the one emotion of love and red signifies that love. At another instant, Kashibai tells Bajirao to not come into her chambers anymore, she is trying to light off the diyas. She cannot reach the height, so, Bajirao takes the stick and puts them off, just like their relationship that seems to have to run its course.
In Bundelkhand, when Bajirao is to leave the next day, Mastani visits him in the middle of the night and gives a paan to him.
The betel leaf has been a part of Hindu tradition for a long time, even shown in some miniature paintings depicting Krishna offering paan beeda to Radha. There is an amorous quality associated in giving a heart-shaped leaf to one's lover; perhaps, that is why paan continues to be romanticized in films.
At a later point, Kashibai also gives a paan to Bajirao when he visits her when she tells him she is pregnant. The way she gives the paan to him was an indication that she saw that he had given Mastani the paan. He thinks that she does not know anything, but she is smart and intuitive. She says, "Yeh chaand bhi na kabhi is badli ke peeche, kabhi us badli ke peeche," with the reference of the moon to Bajirao's hidden relationship with Mastani.
One of my favorite scenes in the film is when Kashibai and Bajirao's mother are sewing the flag, and talking how they are similar to each other. Kashibai says that all through the years, she was Bajirao's parchhai and without telling, he went into darkness. In darkness, a shadow does not exist, making her question her own existence. In that scene, we see her image in the mirror in a box near to her. It is a lovely scene, and her image is clearly seen even in the darkness of the room.
The image is a classic trope in Bhansali's films. In a gorgeous scene in Saawariya, Sakina's image is projected in the mirrors. Early in the film, Mastani is seen holding a rose in front of a mirror.
One of the most aesthetic scenes in the film involve Bajirao's image projected on a mirror. Thereafter, Maa Saheb compares their lives to a mango tree; even though mango might be the king of fruits, but it is the one that has to bear the most stones. Perhaps, Maa Saheb used this as a reference to her own husband's infidelity during his life, or maybe she misses the presence of her husband in her life, and can understand Kashi's plight. The two of them were bonding by sewing a saffron flag—the flag of their kingdom—as if they are bound together by tradition, and their helplessness to change the nature of their relationships.
In the process, they 'sew' a bond with each other. In Saawariya, Sakina used to weave carpets. One welcomes the other by putting the best carpet. Here, we see two women talk about relationships while sewing a flag. Love is the permanent state of intoxication for Bajirao and Mastani. Mastani's eyes flow with love for Bajirao; the moment after she falls in love with Bajirao till the end, her eyes seem watery as if she is intoxicated by love. In the same way, Bajirao, too, is inebriated in her love.
At one point, he even says, "Kaun nashe me nahi hai? Hum sab nashe me hai. Their love is so strong that she is flowing in his body like blood. He cannot exist without her, neither can she.Dev and Rukmini celebrates pre-Nababarsha with hidden-facts.info
Without blood, no human can survive. The red color that symbolizes Mastani is deeply ingrained in his veins. Even the title poster shows that the red color is in Bajirao's name. Nature and its elements are a significant part of Bhansali's oeuvre. Tujh me hai kudrat saree khoyee khoyee.
In Black, Michelle McNelly's first words are not mother or father, but water. It was a new birth of her where she was immersed in the water at the fountain.
In Bajirao Mastani, too, nature is a character in itself. The sky changes its color depending upon the mood. When Mastani is welcomed for the first time by Kashibai, the sky seems to be changing color from grey to red. When there is death, it rains as if the sky is crying.
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He crosses a river going wild, in the middle of a stormy night, to meet Mastani. He is seen walking in the water many a time. When he calls upon the Nizam, he walks through the water. When he visits Mastani, he is standing in water, surrounded by lovely fountains, and calls her to join him. Later, Kashibai invites him in the water; however, there are no fountains, because his fountain of love is now for Mastani.
In the final scene, death comes to Bajirao in water. Perhaps, water represents the purity of his thoughts, his actions, his intentions, and his love.
In that film, too, fountain formed an important part. Michelle's first word is spoken by her in the water at a fountain; in the end, Debraj also learns his first word 'water' from Michelle near a fountain. They are holding hands; perhaps, their love is like a fountain itself, sustaining them like the fountain of life. If there is sky and water, fire would catch up soon. There is fire in almost every scene in the film.
Mastani uses the fire to light her arrow, Kashibai uses the fire to glow the diyas, Bajirao uses fire to stop the zeher of the wound he inflicted from spreading in Mastani's body. This fire is also a subtext for the burning passion of the characters. One of the most beautiful scenes in the movie is when Kashibai is sitting over a golden statue of a cheetah-lion hybrid, with fire burning in front of her.
This fire is her state of mind, burning with desire for Bajirao as Mastani seems to have become the object of her husband's affection.
In an earlier scene, Bajirao pours water over Kashibai. Dressed in a saffron saree, a color that matches the color of the fire, this pouring of water was, perhaps, a subtle indication that the fire that Kashibai ignited in Bajirao's heart is starting to extinguish. It is Mastani who now ignites the fire in him.
However, Kashibai's heart still beats for him, and sitting on the animal statue, which was a reference to Bajirao himself. And, then there is the nature itself. Bajirao wears a navgriha ring, made up of the nine planets.
It is as if nature has blessed them. In the end, he says that they will meet the next time when the sky will have the setting sun, and the rising moon; that day, the sky will change its colors; the winds of desire will be blowing; the clouds will be thundering; the dry leaves will be swishing; and, there will be an untimely rain. There will be no barriers of religion, no earthly relationships, there will be only fire, the fire of their love. It is again the nature and its elements that provide the conditions for their eternal union.
Bajirao might have won forty wars, but he couldn't win the one that he fought for Mastani. It is only in death, that they will be able to meet forever. Sanjay Leela Bhansali is in love with the peacocks. Ram-Leela was full of peacocks. Every song of that film had a peacock reference, and Ram was compared to a peacock in the film. His love for peacocks is immense that even the symbol of Bhansali Productions is a peacock. Expectedly, Bajirao Mastani has peacock references. There is not only a peacock feather, but patterns of peacock feathers in the palace walls and the floors, the diyas, the earrings, and the lamps.
When Mastani is sent to live in the red light area, a woman jokingly calls her a morni. When she visits Mastani Mahal for the first time, we can hear a peacock screaming in the background. There are also many lotuses in the film. When Bajirao visits the Aaina Mahal, Chimaji tells him he is standing on a lotus.
There are lotus flowers in Kashibai's and Mastani's rooms. Even the film's gorgeous poster is teeming with flowing pink lotuses. And auspiciousness to Krishna. His heroes and heroines are embodiment of gods and goddesses.
Lotus Each frame of the film is so exquisite that one cannot help but marvel at this painting. It is truly like poetry in motion.
The film stuns with its visual resplendence. I was very eager to work with Kamalda. My character has a lot of substance; she has gone through a lot in life and once she comes out of it, she acquires a personality that is strong yet vulnerable.
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Will we see you in more films now? For some time nothing was satisfying me as an actor. It has been years now in the industry. After a certain time, you feel hungry for better work. You want to present yourself in different ways. It happened that way. Thankfully, I am getting very interesting offers. Dev and you go back a long way. How do you see the both of you growing over the years? For a pair to work, you need an X factor. Having done so many films, our understanding and friendship has really grown.
Now it feels more special because Dev is not just an actor anymore. He is a producer smiles. You and Rukmini will share screen space for the first time