Sanjay Leela Bhansali movies: A Gorgeous and repetitive filmography


Khamoshi: The Musical, Black and Guzaarish — are you able to sense the widespread theme right here? Padmaavat, Bajirao Mastani, Devdas and Hum Dil De Chuke Sanam — what ties these motion pictures collectively? The first set of movies have been about grief and discovering which means in life regardless of the bodily impediment. Of discovering a way of normalcy and excelling inside that world, which on the outset, may appear unimaginable to an outsider. Whereas, Padmaavat, Bajirao Mastani, Devdas and Hum Dil De Chuke Sanam have been primarily love triangles, painted luxuriously with each sort of opulence conceivable. Yes, it would appear to be a simplification, however whenever you break it all the way down to its naked minimal, the aforementioned topics are the legs that these motion pictures stand on. Even Sawaariya was finally a love triangle. The solely function that stands out is probably Bhansali’s Goliyon Ki Raasleela Ram-Leela, and not as a result of it’s a superior movie, however as a result of it doesn’t essentially match into these two classes.

Sanjay Leela Bhansali and Manisha Koirala on the premiere of their movie Khamoshi: The Musical. (Photo: Express Archive)

This is to not say that these motion pictures from Bhansali’s oeuvre are usually not fulfilling or stunning-looking. But my chief criticism is with its narrative; the writing just isn’t very imaginative. The love triangles, as a rule, observe the stereotypical union and estrangement, which is related to the style. Boy-meets-girl-meets-another-boy, throw in a track and some enjoyable, and conclude the storyline with a bittersweet ending. If ‘this’ construction had been adopted in solely a few motion pictures, it might not have appeared so repetitive, however the issue is that the director typically visits the identical story in numerous settings. The movies of Bhansali’s world have a singular aesthetic, sadly, one can not say the identical factor about its script.

Khamoshi: The Musical is a private favorite. Not solely was the Salman Khan, Manisha Koirala and Nana Patekar-starrer Sanjay Leela Bhansali’s directorial debut, it was an sincere movie that didn’t really feel the necessity to paint the film a sure strategy to make it stand out. Its filmy sentimentality was elevated by Patekar’s stellar efficiency and a wholesome-looking Goa. Rustic, scenic and pretty — abruptly. The songs after all have been a bonus and so was Koirala’s quiet loveliness that crammed each body she occupied. The tone was subdued and the story didn’t get caught into its personal trappings of ambition, love and grandeur, which frequently occurs with a Bhansali manufacturing. It confirmed the viewers that you just don’t have to have huge units and a substantial amount of cash to make a very good film. Khamoshi’s world was wealthy and vibrant in itself. It was a musical in true sense of the time period. The songs weren’t simply songs, however truly helped transfer the story ahead and gave a transparent perception into the minds of the characters, be it “Aaj Main Upar” or “Bahon Ke Darmiyan.” And a particular point out for the commemorated lyricist Majrooh Sultanpuri, who, in his late 70s, gave such youthful, relatable lyrics.

Then got here Hum Dil De Chuke Sanam after a niche of three years. A very totally different film from the one which had launched in 1996. The change was refreshing and the forged was a terrific match for the story. Here too songs performed a big position, generally introducing us to the heroine’s persona and at different occasions celebrating love or singing tales of heartbreak. Ajay Devgn’s Vanraj was a sensible man who had fallen for the radiant Aishwarya Rai’s Nandini. But Nandini cherished Salman Khan’s Sameer, and so this push and pull of grand romantic gestures and sacrifice between the three characters created the signature Bhansali love story. Of unrequited love, false guarantees and drama bordering on melodrama.

The manufacturing worth saved evolving and growing with each movie that Bhansali made thereafter. Be it Devdas, Sawaariya, Guzaarish, Bajirao Mastani or Padmaavat — units metamorphosed into work, consequently making his characters non-relatable and by no means aspirational. They appeared nearly legendary; the issues Bhansali’s characters did or achieved inside their universes was not the stuff you and I might hope to do, however solely dream of them. Watching a Bhansali film on the large display screen is like being caught in the midst of a waking dream. Here’s hoping the Alia Bhatt-starrer Gangubai Kathiawadi brings one thing new and thrilling to the desk. After all, that is the primary time that Sanjay Leela Bhansali can be adapting a real-life story for the celluloid. Fingers are crossed in anticipation.


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