Bajirao Mastani (2015)
Directed by: Sanjay Leela Bhansali
Starring: Ranveer Singh, Deepika Padukone, Priyanka Chopra
Plot: Known for his love for larger-than-life cinema, especially doomed love stories etched in the annals of history, Sanjay Leela Bhansali told the story of the 17th-century Peshwa king Bajirao (Ranveer Singh) and his obsession for the soldier princess Mastani (Deepika Padukone), even while being married to Kashibai (Priyanka Chopra).
The good: Bhansali, the auteur that he is, painted the canvas of the film with bold, beautiful strokes, giving us a ravishing spectacle, complete with extravagant sets, dazzling costumes, brilliant cinematography and gorgeous faces. With their off-screen chemistry manifesting on screen, Ranveer and Deepika helped in crafting a love story that towered over religion and rules, pride and prejudice. Priyanka Chopra, as the spunky Kashibai, put in a spirited performance, with Bajirao Mastani scoring as an operatic romance.
The bad: At 20 minutes short of three hours, the film did feel exacting and exhausting in places, with Bhansali focusing more on scale and style than substance.
The Telegraph review: The extravagant backdrop is backed by an operatic narrative, melodramatic dialogue and jaw-dropping song ’n’ dance sequences.
Box office: A blockbuster, earning Rs 360-crore odd on a Rs 145-crore budget.
Mohenjo Daro (2016)
Directed by: Ashutosh Gowariker
Starring: Hrithik Roshan, Pooja Hegde, Kabir Bedi
Plot: Set in 2016 BC at the height of the Indus Valley Civilisation, Mohenjo Daro tells the fictional story of a farmer named Sarman (Hrithik Roshan), who challenges the elite and fights against overwhelming odds to save the civilisation.
The good: Gowariker can’t be faulted on intent, but Mohenjo Daro was a disastrous film. On every count. Only Hrithik Roshan, even in some unflattering costumes, was a sight for sore eyes.
The bad: Unintentionally comic and let down by weak writing and embarrassingly shoddy visual effects, this was a historic blunder. Even A.R. Rahman failed to come up with a single memorable number.
The Telegraph review: The dusty pages of the Indus Valley Civilisation chapter in the history book in school was way more entertaining than Mohenjo Daro.
Box office: An expected disaster. The plumes on Pooja Hegde’s headgear possibly cost more than what the film earned.
Padmaavat (2018)
Directed by: Sanjay Leela Bhansali
Starring: Deepika Padukone, Ranveer Singh, Shahid Kapoor
Plot: Bhansali once again ventured into the terrain of obsession, attempting to tell the tale of Mughal invader Alauddin Khilji’s (Ranveer Singh) neurotic obsession for Rani Padmavati (Deepika Padukone) of Mewar, going as far as to capture her husband Ratan Singh (Shahid Kapoor), even as Padmavati took on Khilji bravely, willing to sacrifice herself than give up to him.
The good: Bhansali’s third film with Ranveer and Deepika was once again an extravagant tale of love and lust, with a statuesque Deepika, looking beautiful in every frame, portraying Padmavati with a mix of strength and vulnerability. Ranveer’s uninhibited act as Khilji was a plus, and so were the beautifully mounted set pieces. Padmaavat, initially titled ‘Padmavati’ fought a battle against fringe elements off screen, with a courageous Deepika leading from the front.
The bad: Padmaavat often wobbled on the thin line between extravagance and excess. The film also suffered from the deliberate stereotyping of the Muslim invader, with Shahid Kapoor, otherwise a fine actor, emerging as the film’s weakest point. The glorification of Jauhar in the final stages of the film, though filmed poignantly, was a problem point.
The Telegraph review: Padmaavat can be accused of visual excess, but it all comes together beautifully. Every frame is evocative and a sensory delight.
Box office: A bonafide superhit, raking in close to Rs 600-crore
Manikarnika: The Queen Of Jhansi (2019)
Directed by: Krish/ Kangana Ranaut
Starring: Kangana Ranaut, Jisshu Sengupta, Ankita Lokhande, Danny Denzongpa, Atul Kulkarni
Plot: The story of braveheart Rani Lakshmibai of Jhansi — also known as Manikarnika — was brought alive on screen in this film whose off-screen shenanigans — director being replaced, actor walking out — hogged more headlines.
The good: Strictly a one-woman show, with Kangana grabbing all the attention and adulation, Manikarnika came from a place of good intent. Action and emotion were well balanced, with the second half playing out all guns blazing.
The bad: The pre-release controversy surrounding Manikarnika did leave a bitter taste in the mouth. The disclaimer at the beginning stated, the film “doesn’t claim any historical authenticity”, and that soon became evident even in its picturisation, with videos of Kangana ‘riding’ a wooden horse quickly going viral.
The Telegraph review: Manikarnika lacks nuance. Everything is heightened, sometimes to the point of exaggeration. The VFX is patchy.
Box office: A decent earner, scoring Rs 160-crore
Panipat (2019)
Directed by: Ashutosh Gowariker
Starring: Arjun Kapoor, Kriti Sanon, Sanjay Dutt
Plot: Between the two of them, Ashutosh Gowariker and Sanjay Bhansali have cornered the historical genre in Bollywood. This film had Gowariker chronicling the Third Battle of Panipat, fought between the Maratha Empire and the invading army of the Durrani Afghan Empire.
The good: Panipat had the Gowariker stamps of authenticity and ability to revisit and reimagine history in the way few others can.
The bad: A woefully miscast Arjun Kapoor and Kriti Sanon and the overlong and indulgent storytelling — a butt-numbing174 minutes long — weighed down Panipat. Also, Dutt’s Abdali was predictably painted as a meat-chomping, kohl-sporting barbarian with a one-dimensional character arc.
The Telegraph review: Panipat is a case of what could have been. The ingredients are all there... it’s just not cooked well enough
Box office: A failure, not even reaching the Rs 50-crore mark
Tanhaji: The Unsung Warrior (2020)
Directed by: Om Raut
Starring: Ajay Devgn, Saif Ali Khan, Kajol
Plot: Set in the 17th century, the film revolved around Maratha braveheart Tanaji’s (Ajay Devgn) attempts to recapture the Kondhana fortress once it passed on to Mughal hands.
The good: The performances — especially Saif as the antagonist — stood out and Raut, in his Hindi debut, showed a flair for larger-than-life storytelling.
The bad: The laugh-out-loud CGI in the action sequences, disregard to historical authenticity and a propaganda-heavy narrative.
The Telegraph review: It is Tanhaji’s over-the-top ways albeit borne out of creative liberties taken by writers and the director that make the character annoying.
Box office: A huge hit, with long legs in theatres. Tanhaji was the last big Bolly hit in theatres in January 2020, before the pandemic brought the world to a two-year pause.
