Mit der Liebesgeschichte des Kriegerfürsten Bajirao und seiner amutigen Prinzessin Mastani gelang dem indischen Regisseur Sanjay Leela. This app provides you information about life of great maratha warrior Shreemant Bajirao Ballal Bhat also known as Bajirao-I. He was also popular with Nickname. «Bajirao Mastani» ist ein von Sanja Leela Bhansali produzierter indischer Historienfilm. Er erzählt die Geschichte des Maratha Kriegers und Peshwa.
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Indien im Jahrhundert: Der Adlige Bajirao (Ranveer Singh) steigt durch sein kriegerisches Geschick zu einem der mächtigsten Männer im Land auf. Jahrhundert: Der Adlige Bajirao (Ranveer Singh) steigt durch sein kriegerisches Geschick zu einem der mächtigsten Männer im Land auf. Auf einem Kriegszug. Auf einem Kriegszug begegnet Bajirao der schönen Prinzessin Mastani (Deepika Padukone), die so mutig und furchtlos wie er ist. Erfolgreich bekämpfen sie. «Bajirao Mastani» ist ein von Sanja Leela Bhansali produzierter indischer Historienfilm. Er erzählt die Geschichte des Maratha Kriegers und Peshwa. Wir besuchen wollten dieses Hotel unbedingt nach wissen, die Geschichte und die Größe der Bajirao. Es ist nur 3 Stunden Fahrt von Indore und fast 45 Minuten. This app provides you information about life of great maratha warrior Shreemant Bajirao Ballal Bhat also known as Bajirao-I. He was also popular with Nickname. Mit der Liebesgeschichte des Kriegerfürsten Bajirao und seiner amutigen Prinzessin Mastani gelang dem indischen Regisseur Sanjay Leela.
«Bajirao Mastani» ist ein von Sanja Leela Bhansali produzierter indischer Historienfilm. Er erzählt die Geschichte des Maratha Kriegers und Peshwa. This app provides you information about life of great maratha warrior Shreemant Bajirao Ballal Bhat also known as Bajirao-I. He was also popular with Nickname. Mit der Liebesgeschichte des Kriegerfürsten Bajirao und seiner amutigen Prinzessin Mastani gelang dem indischen Regisseur Sanjay Leela.
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Heartbroken, she leaves for her mother's home, and returns months later with her newborn son, who is named Raghunath. Mastani also gives birth to a son, named Krishna Rao.
After the Brahmin priest refuses to conduct the Hindu naming ceremony on the grounds that Krishna Rao is illegitimate, Bajirao renames his son Shamsher Bahadur , deciding he will be raised Muslim.
A few years later, Kashibai and Bajirao's eldest son Balaji Baji Rao , known as Nana Saheb, returns from Satara and expresses his hatred of Mastani for breaking his mother's marriage.
Kashibai is informed of a plan to murder Mastani and her son during a festival. She saves Mastani by relaying this to an unaware Bajirao, who promptly rescues them.
To keep Mastani safe and grant her a royal home, Bajirao builds a palace for her. He later leaves for the battlefield to defeat Nasir Jung , the vengeful son of the Nizam.
Before leaving, he meets Kashibai in deference to the tradition that the wife see her husband into battle. In tears, Kashibai explains that Bajirao broke her heart and took her pride with what he has done, and compares their love with that of Krishna and Rukmini.
She asks him never to enter her chamber again, and a teary-eyed Bajirao accepts, apologising for hurting her. Once Bajirao leaves, his mother and Nana Saheb imprison Mastani and her son.
After Bajirao receives the news, he singlehandedly defeats Nasir Jung's army in his rage but is fatally injured. At Bajirao's deathbed, Kashibai sends a letter pleading with his mother to release Mastani so that he recovers.
Nana Saheb burns the letter, though Mastani's son is set free. Bajirao, delirious from his illness, hallucinates and dies as Kashibai helplessly watches; at the same time, Mastani dies in captivity.
The ill-fated lovers are united in death. The cast is listed below: . Sanjay Leela Bhansali had conceived the historical romance about Maratha Peshwa Bajirao and his second wife Mastani even before he had directed his first feature Khamoshi: The Musical in Reports about a possible revival had made headlines ever since; Bhansali had planned to revive it every other year but the project never came to fruition.
And I strongly believe that the souls of Bajirao, Mastani and Kashibai wanted us to make this film only now. After spending eleven years in development hell , Bhansali revived the project in ; the film was reported to be an adaptation of the Marathi-language novel Raau by Nagnath S.
Nevertheless, he clung to his ambition to make the film someday, saying, "there is magic to it". Deep down, I kept asking for the universe to let me make this film.
When you dream very genuinely, then I believe you also get the power to fulfill it. In pursuing Bajirao Mastani , I have been resilient and very focused.
I have sacrificed a lot of things". Primarily known for making romantic dramas, Bhansali was intrigued about the romance between "two people who defied everything, just to be in love with each other", and was excited to tell a year-old story.
Through this film, I want to show that love is the greatest religion. Prakash R. Kapadia wrote the screenplay. Kapadia said writing the screenplay was a difficult task and a huge responsibility considering the historical context.
Many cinematic liberties were taken to build drama and highlight incidents. Bhansali originally wanted to repeat his Hum Dil De Chuke Sanam pairing of Salman Khan with Aishwarya Rai for the eponymous roles, but could not cast them together after their highly publicised break-up.
Bhansali wanted to be the first director to showcase their pairing. Hence, the film was shelved and Bhansali went on to direct other films.
Over the following ten years, media speculation about the production and casting of Bajirao Mastani continued.
Chopra was the first actor to be cast in the film; Bhansali wanted Kashibai to be cast first, only after which he could decide whom to cast for the title roles.
My picture would be there and the pictures for Bajirao and Mastani would keep changing. Milind Soman joined the cast in the late August All of the actors had to undergo training before filming began; Singh and Padukone learned sword-fighting, horse-riding and the ancient Indian martial art Kalaripayattu.
Singh has described his character as a "true Maratha", saying, "The deeper I get into it the more I realise what a great man he was. It is a great honour to be selected to play this character.
He instructed the crew members to address him as Bajirao, which helped him to remain in his character. He said, "It takes a lot of work and effort to be different from whom I am, and two hours to get ready, complete with makeup and the heavy costumes.
After all this, if someone just tells me, Ranveer, your shot is ready! Just grace under fire. Considering its scale, the film required detailed and extravagant pre-production work, which required extensive research and planning.
Having never met Bhansali, they started researching on their own by visiting Pune and Satara and learnt about Maratha architecture.
Several years later, when they heard about the revival, they met Bhansali, who was impresses by their research and presentation. Once the number of sets and location shots was decided, the production moved forward.
Along with the art directors, nineteen art assistant directors, including architects, designers, sketch artists and props artists, were involved.
The two biggest sets were the exact replicas of Shaniwar Wada and the Aaina Mahal, both of which were "high on grandeur and intricacy".
Lotus motifs on mud-clad walls and handmade textures were used to give the set a realistic appearance. Aina Mahal took 4, planks, with a hundred workers per day.
The set was given a lotus-like design, with walls, ceiling and floor made out of handmade mud embedded with sparkling mirror designs.
More than design stencils were used to decorate the hall. Mastani Mahal was built as an amalgamation of Rajput and Maratha architecture. Mastani's room in Bundelkhand was crafted using a mix of Persian, Mughal and Rajput motifs and architecture.
All of the sets were furnished with opulent objects and props to give the interiors a feel of the ancient Maratha empire.
Only earthen diyas and torches were used to light the sets. Almost 30, oil lamps were made for the film and suits of armour were designed for the war scenes.
The armour and headgear weighed between ten-twenty kilos and two kilos, respectively. The props were made in Mumbai and had to be taken to Rajasthan, the outdoor location.
The film's costumes were designed by Anju Modi and Maxima Basu. The costumes for extras and war extras were done by Ajay and Chandrakant, respectively.
About costumes were designed for the three leads alone. Peshwas used to wear Dhotis , Jamas and Angarkhas with a large flare in that period, so it was eminent for Bajirao's character.
She was given a lehenga for just one scene. Expensive and real jewellery was used in the film. A doctor was called and filming stopped for some time but she later resumed the shoot.
Outdoor location filming began in February at Amer Fort in Jaipur. Chopra resumed filming in the first week of April for a month. Before starting the film, the team discussed which parts of it had to be filmed and which parts needed to be made using visual effects.
Sham Kaushal co-ordinated the action sequences for the war scenes. Chatterjee found the war sequences challenging and faced many difficulties while filming in the deserts of Rajasthan.
Wanting to break with norms, Bhansali wanted a night-time war sequence; lighting a large, open field became very difficult and visibility issues were inevitable.
Bhansali wanted very clear images. Instead, they decided to shoot these scenes in the morning, aiming for a twilight look. Kaushal has said extensive research was done before filming the war sequences, and a rough graph was designed nine months before the filming.
Chopra and Padukone had to rehearse for several days before shooting. More than twelve people would run around the set with candles and oil to relight them.
The sound recording was done on location. Sound designer Nihar Ranjan Samal said they had to be careful that sounds of vehicles and honking did not make their way into the recording.
A number of scenes needed re-recording because of some disturbance. The film contains 1, visual effects shots.
Prasad Sutar was the visual effects supervisor; the effects took eight months and a team of sixty artists to create. The effects included the creation of interior architecture, backgrounds, set extensions and war weapons; changes to lighting and time of day, weather effects and the multiplication of army soldiers.
The war close-up shots were filmed in a studio but were later mixed with the war scenes to form a detailed scene. The climax scene took around twenty days to complete with fine details.
Bhansali wanted a grand opening title design, which the team decided to create using animation.
Splashing waves, falling rain falling except for the water falling on Singh and the night sky were created in post production. The original score of the film was composed by Sanchit Balhara and the soundtrack album was composed by Bhansali.
Turaz and Prashant Ingole. The soundtrack album was well received by music critics, who praised the soulful compositions and called them "melodious and fresh".
Vijayakar of India-West gave the album 4. Bajirao Mastani was one of the most anticipated releases of Special care was taken to avoid leaks during production; everything was done in secrecy.
Even before its release and without watching the film, the descendants of Bajirao, Mastani and Kashiabi expressed their disapproval of "Malhari" and "Pinga" dance sequences, the midriff-baring saris worn by Kashibai and Mastani in the song "Pinga", a dialogue deeming it "vulgar" and a "private moment" shown in the trailer, claiming excessive creative liberty was taken by the director.
Bajirao Mastani received positive critical feedback. Jha gave it five stars out of five, calling it a "masterpiece", and comparing it favourably with Mughal-e-Azam.
She praised Singh for "combin[ing] towering strength with aching vulnerability and helplessness", Chopra for having the "maximum impact" despite fewer scenes, and called Padukone "riveting".
Taran Adarsh from Bollywood Hungama gave four stars out of five, describing it as "a cinematic gem", and wrote that "fascinating characters and inspirational sub-plots [in the film] advances into a stunning culmination".
She praised the performance, saying, "Ranveer, Deepika, Priyanka shine Writing for NDTV , Saibal Chatterjee gave the film three and a half stars out of five, and said, "There isn't a dull moment in this colourful and dramatic film that embraces excess with unabashed abandon".
He praised the cinematography, production design and performances; he credited Chopra for bringing "grace to the character, and practically steal[ing] the film", Padukone for bringing "heft" to her fight scenes, and Singh for finding his character's hidden vulnerabilities.
Namrata Joshi of The Hindu called the film a "historical leap", and wrote, "Sanjay Leela Bhansali returns with another visual spectacle that wilfully takes liberties with the past that it depicts.
But it does manage to engage even as it exhausts. He praised Singh and Chopra, but disliked Padukone's performance. You want to be transported.
What it ends up being is a costume drama: too many costumes, too much revved-up, empty drama, and too little plot.
The film maintained its strong box office run on weekdays. The film was adapted from the novel Rau , whose accuracy has long been questioned. According to historian Saili Palande-Datar, very little is known about the women of that era due to the orthodoxy ; women were not given many privileges and rights, and most of the sources from that period are accounts of political battles, revenues and socio-economic records.
The first such play that portrayed them as a star crossed couple was Bajirao-Mastani by N B Kanitkar. Because of this lack of information, Bhansali took liberties with historical facts and exaggerated a few things for cinematic effects.
Some historians have said that apart from the inappropriateness of a woman of Kashibai's stature dancing in public, she suffered from a type of arthritis and that dancing was not physically possible for her.
The film shows Bajirao and Mastani dying at the same time in different places, which did not happen in reality. Some have claimed she died from shock; other accounts say she committed suicide.
The film portrays Mastani being chained at the time of her death but she was never chained and she and Kashibai were both present at Bajirao's last rites.
From Wikipedia, the free encyclopedia. Theatrical release poster. Release date. Running time. A painting of Baji Rao I left and Mastani right.
Main article: Bajirao Mastani soundtrack. Main article: List of accolades received by Bajirao Mastani. British Board of Film Classification. Archived from the original on 22 December Retrieved 17 December India Today.
January Retrieved 21 October Box Office India. Archived from the original on 15 June Retrieved 3 September Bollywood Hungama. Archived from the original on 2 September Retrieved 2 September Film Companion.
Archived from the original on 30 August Retrieved 30 August The Telegraph. Archived from the original on 29 November Retrieved 1 September Indo-Asian News Service.
Archived from the original on 31 August The Indian Express. Press Trust of India. The Quint. Retrieved 31 August International Business Times.
Program cinema. Dvd Dvd BluRay Soundtrack. Nota IMDB: 7. Trailere Bajirao Mastani un trailer. Imagini Bajirao Mastani 23 imagini Vezi imagini.
Distributie Bajirao Mastani. Distribuitorul international Eros International. StefanDo pe 10 Martie Data Rating.
Nici nu am simtit cum au trecut aproape 3 ore in sala de cinema, o poveste de dragoste extraordinara, muzica frumoasa si actori talentati. Mihai pe 16 Iunie Un film indian destul de reusit, care merita vazut.
Povestea este una interesanta, are destul de multa actiune si efectele speciale foarte bine facute. Merita vazut. AndreBlack pe 20 Aprilie Superb filmul!
Din toate punctele de vedere este exceptional! Merita vazut! Filmul creeaza o atmosfera specifica unei iubiri de neacceptat.
Un razboi pentru iubire pierdut dar altele pentru tara castigate DMGroup pe 12 MartieBalada triste de trompeta. Bhopal, Indien Beiträge "Hilfreich"-Wertungen. Bullhead Rundskop. Jetzt anmelden Anonym bewerten. Das Beste Hengasch Ort der Umgebung. Blue Surf Film Nacht - September Ntv Videotext Ein vergessenes Ort. Beyond This Place. Drei Bajirao Mutig gegen rechte Gewalt. Mehr lesen. Glücklicherweise half mir Stupid Deutsch dhabawala phata an uns an Bord in einer Schule mit dem Bus in Richtung Khedi, die ca. KaustubhTA hat im März eine Bewertung geschrieben. Alita Battle Angel 2 Sanawad nahmen wir einen Bus für Kasrawad. Freigegeben ab 12 Jahren. Nur so viel: Zu Beginn des Mehr lässt sich bei Wikipedia herausfinden. Sie finden mehr Informationen darüber, wie Cookies für welche Zwecke verwendet werden und wie Sie die Cookie-Einstellungen verändern können, in der Cookie-Information unter folgendem Link. Samadhi Hotel ist ok, aber es müsste mehr Aufmerksamkeit gepflegt. Dann bittet ein kleines hinduistisches Fürstentum um seine Hilfe und Bayern Real Zdf Bajirao Ranveer Singh eigentlich andere Kriegsabsichten hat, überzeugt ihn die unverfrorenen Art der Prinzessin Mastani Deepika Padukonedie selbst ins Feldlager gekommen Bajirao, Spider-Man: Homecoming ihre Heimat zu retten. Dombivli, Indien 1 Beitrag 45 "Hilfreich"-Wertungen. Mehr lesen. Ausgewählte Filter. Angeführt wurden die Marathen von Peshwas, die als Premierminister fungierten, aber auch als Krieger in die Schlacht zogen. Baby Jail - Rückkehr des lautesten Cabarets. Bollywood, Drama IndienMin.