Deewani Mastani: Is There More to It Than Meets The Eye?

Decoding the magic of Mastani…

Mani Prabhu

A girl returns to her man – a warrior prince who had totally consumed her inside of a destined time frame – only to realize that he is someone whom she can never have, with the blessings of the world. For one, he seems to be happily married to another woman. And secondly, she is not sure of his feelings for her.

The guy seems to be excited seeing her, but is there something more to his mysterious smile than a casual infatuation?

Shreya Goshal in “Deewani Mastani” gives life and soul to the dictum that there’s always gonna be one person in your life you can’t walk away from, even if you know very well that you have to; be it the early 18th century or the third millennium.

Her voice dribbles off heartfelt passion and conscientious indecision , each trying to suppress the other and take over the lime-light in an agonizing struggle to be heard.

She in fact, sounding like a true-blue court performer, tastefully twists the sappiest of lines into distressingly-jagged angles with her tone, leaving us pondering if she is attempting to communicate through a medium beyond that of the words.

When a hint of Marathi accent catches on, she brings alive a long-forgotten era in all its grandeur.

And after a point, you have no other choice than to submit to her wizardry.

Her rendering, especially the portions where she alludes to her unjustifiable insanity…

Kahaan thi main dekho kahaan chali aayi… 
Kehte hain ye deewani mastani ho gayi 

It muddles your thoughts so convincingly that the thin line between right and wrong gradually blurs.

Mystic ‘qawalli‘ interludes serve to confuse you more.

But how does she manage to stay this calm, and resolute at the same time?

How is she, so convincingly, faking the torment?  Is she trying to win him over? Or is it just a deluge of long-sealed emotions?

You are brilliantly kept on the edge, never at any instance, allowed to form an opinion.

There might be no stopping Shreya in setting the bar high every single time, but this visual spectacle in Bajirao Mastani would be, perhaps, remembered as her poetic best.

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