Mary Poppins Returns
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All Critics (14)
| Top Critics (2)
| Fresh (10)
| Rotten (4)
The physical beauty and real acting talent of the three leads rises this to just above sud-level. Its central message that 'all religions preach love, but love has no religion' is to be commended, especially since it is still so pertinent to India today.
The central pair of defiant lovers are never particularly convincing as convention-busters, nor are they as appealing as the rooms they inhabit or the clothes they wear.
It is cinema on a grand scale, larger-than-life in terms of visual pleasure, but without the compelling narrative or emotional depth to make it memorable.
Some of the more interesting Bhansali tropes add to the film's impact and appeal. But it's the trajectory and transformation of the two women that is worth noting.
The film hardly moves in the first hour or so, picking up speed only after the intermission -- in fact it seems a little rushed in the second half.
Bajirao-Mastani resembles Jodhaa-Akbar with teeth that bite, Mughal-e-Azam with shades of philosophical grey. It rediscovers roots to Maratha pride -- and bravely confronts one of India's most crucial questions now.
It's definitely one of the year's best.
The narrative is linear and predictable, but the film comes alive when Ranveer Singh and Priyanka Chopra are in the frame. For Singh, it is possibly the role of a lifetime and he plays Bajirao with an ease and confidence that radiates on screen.
The film feels overly ceremonious, purposefully epic and, in places, a little exhausting. But hang in there. Because slowly and skillfully, Bajirao Mastani transports you.
It can be a good one-time watch, for Deepika's performance, if not anything else.
It left me strangely underwhelmed.
Singh's performance is an unmistakable triumph.
There are no featured reviews for Bajirao Mastani at this time.
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