“They are responsible for the women’s movement, for education, they have gone beyond tolerance in every age.
“Chitpavans are the most modern community,” she said. Make your own movies, write articles about it.” “Don’t look at it if you are really disturbed. “Sanjay Leela Bhansali has put a statement that this is fiction – then he should not use their real names. “In the name of fiction, you cannot show something that is non-cultural, non-historical and disgusting,” she said. Though Sahasrabudhe acknowledges that the romantic aspect of the story was a later invention, she still thinks there is a limit to how far imagination should go. Mastani’s tomb in Pabal is still there, though it is not well maintained. Nothing remains of Bajirao Peshwa’s palace in Shanivarwada except for the walls, he said, as the entire palace burnt down in 1828. “It was likely from the second Bajirao Peshwa’s palace, not the one built for Mastani,” he said. This, said Mandar Lawate, a Pune-based historian, is not true. A room in the Raja Kelkar Museum is said to be transplanted from the palace Bajirao had built for her in Kothrud. There are few physical remnants of Mastani left today. This has become just yet another love story with names that are historical.” The more entertaining the writing, the more they believe it. “Many people think of novels as history,” Palande-Datar said.
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This fable became a plot point in ETV’s television series Shrimant Peshwa Bajirao Mastani, which aired in 2010. “There is a story that when he went to visit the Nizam in Hyderabad, the Nizam’s queens showered pearls on him because he was so beautiful,” she said. Bajirao, Sahasrabudhe said, was widely lauded as not just handsome, but beautiful. It helped that Bajirao was as renowned for his beauty as Mastani. In their hands, Mastani grew out of being one of history’s many ciphers into a brave woman passionately devoted to her husband, an accomplished horse rider who accompanied her husband into battle and someone who fought tooth and nail to protect their son from forces out to kill them. A slew of historical novels beginning in the 1930s also added to the myth-making. Plays that followed Kanitkar’s adopted similar tones and by the 1930s, the story of Bajirao and Mastani was as familiar to Marathi audiences as that of other epic romances. Even as it played up religious and nationalistic tropes, it was also undeniably a love story. Kanitkar’s Bajirao Mastani, however, set a different trend. Bedekar, who died in May, was one of those who had called for a ban on James Laines’ Shivaji: Hindu King in Muslim India. He did not have the time to eat or even cook his food and this is the kind of man who will stop to dance?”īhansali’s film, which stars Ranveer Singh in the main role, has been 10 years in the making and is based on Nagnath S Inamdar’s Marathi novel, Raau. Bhansali consulted historian Ninad Bedekar, widely held to be the final authority on the Peshwas, for details on the period. Anuradha Sahasrabudhe, a social activist involved with the case. “In Malhari, they showed Bajirao Peshwa dancing,” said Dr. Their objections range from the use of words that “our household” children would never use, to the revealing nine-yard saris worn by the leads Deepika Padukone and Priyanka Chopra, to the fact that they, as Bajirao Peshwa’s wives, are dancing at all. A group of descendants of Bajirao’s first and second wives now plans to file a public interest litigation, asking for the film’s screening to be stopped.
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