पिंगा, बाजीराव मस्तानी, भन्साळी इत्यादी

पिच्चरमधून जर हे गाणे काढून टाकले तर पिच्चर बघ्णार कै?

चित्रपटाच्या आधीच त्याच्या प्रसिद्धीत इतके सदस्य गुंतलेले पाहून गंमत वाटली. एक शक्यता म्हणून असं समजा की प्रत्यक्ष चित्रपटात हे गाणं काशीबाई (किंवा बाजीराव) स्वप्नात बघताहेत वगैरे असे काही असेल तर इतक्या सगळ्या गोंधळाची प्रसिद्धी टेक्नीक वगळता काय किंमत राहिल? तेव्हा चित्रपट प्रदर्शीत झाल्याशिवाय याविषयी मत देणे आततायी वाटते!

वर दिलेले प्रतिसाद वाचले . ज्यांची इतिहासाची मजल शिवाजी महाराजांच्या पुढे गेली नाही अशानि बाजीराव मस्तानी वर आक्षेप घेतलेले पाहून मज्जा आली. ह्या निमित्ताने बाजीराव तरी पड़द्यावर आला. आत्तापर्यंत कोणाला का नाही सुचले हो बाजीरावाला पड़द्यावर आणायचे? राघोबा म्हटले की नारायणराव आठवणार पण अटकपार झेंडे विसरून जाणार. भंसाली काहीही दाखवु देत, त्या निमित्ताने मराठ्यांचा एक उपेक्षित नायक लोकांसमोर येतो आहे. उत्तर भारतियाना कळू देत महापुरुष म्हणजे फ़क्त ओरंगजेब नव्हे ज्याच्या नावाने शहरे उभी राहिली. बाजीरावाचे कर्तुत्व ओरंग्याहुन मोठे होते. तुम्ही तेच बाहेर नाही येऊ दिले तर लोकांना कळणार कसे?

एक सांगू काय? मसाला टाकल्यावरच पदार्थ चविष्ट बनतात. पण सिनेमात भन्साळींनी जो मसाला टाकलाय तो तुमच्यासारख्यांना रूचला नाहीये हे प्रतिक्रियांवरून दिसतयं. . . . . नै म्हणजे बाॅलीवूडवाल्यांकडून भलत्याच अपेक्षा तुमच्या? "बाजीराव मस्तानी" असं नाव आहे सिनेमाचं,"बाजीराव" नव्हे. आता विकिपिडिया काय म्हणतयं बघा. बाजीराव मस्तानी एक आने वाली भारतीय ऐतिहासिक रोमांस फ़िल्म है जिसका निर्देशन और निर्माण संजय लीला भंसालीने किया है। फ़िल्म मराठा साम्राज्य के पेशवा बाजीराव और उसकी दूसरी पत्नी मस्तानी के बारे में बताती है। . तर हे असं हाय सगळं,आणि तुम्ही सगळे उगाच त्रास करून घेताय.

गाणं बघितलं ,काय दिसतेय प्रियंका चोप्रा नौवारीत , अगदी चिकणीचुपडी.त्यामानाने दिपिका एवढी खास दिसत नाही नौवारीत.

कोकणात दही-हंडीच्या दिवशी पुरुषांचे खेळ असतात. त्यात पिंगाही असतो. पिंग्याची सुरुवात "माझा पिंगा घालतो डिंगा" अशा काहीशा गाण्याने होते. तो पिंगा भन्साळीच्या पिंग्यापेक्षा खुप वेगळा असतो.

असो, एकमेव उद्दिष्ट→→→मनोरंजन

सतराव्या शतकातील महाराष्ट्रियन स्रीया! आड़दांड उंचीची प्रियंका कुठल्या एंगल ने महाराष्ट्रीय वाटते? आधी या नायिका भारतीय काय तर ऐतिहासिक देखील वाटत नाही. त्यावर कोणाचा आक्षेप नाही? पिक्चर हिट जाणार बाबानो १०० करोड़ कुठेच् गेले नाही

जाउदे, लै मनाला लावून घेयाचं काम नय. ते भनसाळीचं हायवेवरचं हाटील हाये, तुम्ही चना-मसाला मागा का आलुमटर, सगळ्या डीश असो, ग्रेवी तीच, मेन इन्ग्रीडियंट बदलून दीतं. सालं कंचबी डिष मागा, शेमटूशेम ट्येष्ट लागती. आता त्येनी वेज कोल्हापुरीच्या नावाखाली मिक्सभाजी दिली तर काय करायचं? खावा मुकाट किंवा उठा सुसाट.

गाणं आवडलं. (संदर्भ सोडून बघितलं तर) मस्त आहे.

मेल्या भंन्साळ्या, नतद्रष्टा... त्या सटवी बरोबर इकडची स्वारी नाचले असतील, मी नव्हे. थांब तुला आता दिवाळीचा ऊरलेला फराळच खायला घालते, थांबच तू... - काशीबाई

http://m.firstpost.com/bollywood/why-the-outrage-around-bajirao-mastani… By Mrunmayi Ainapure Most of us netizens of urban India have become quite inured to our hourly routines of awakening to the cacophony of public outrage on social media that revolves – like clockwork – around seemingly trivial matters. One tends to dismiss most of these with a sigh and a bout of furious scrolling. Yesterday, however, was an exception. As someone who has lived in Pune all her life, the bone of contention, this time around, hit quite literally close to home. Shortly after a harmless dance number titled ' Pinga' from Sanjay Leela Bhansali's upcoming film Bajirao Mastani , featuring Deepika Padukone and Priyanka Chopra, was released online, Facebook was inundated with a slew of posts from a sizeable chunk of the Marathi Brahmin community (mostly residents of Pune, although Maharashtra-born NRIs aching to stay connected to their roots joined in soon enough) with responses to the song. These ranged from scathing to plain hysterical; the criticism touched upon various factors that seemed to have disappointed these viewers, such as the "ridiculousness" of showing the two wives of warrior king Bajirao Peshwa I – Kashibai (Chopra) and Mastani (Padukone) – dancing together, the direct lifting of the song's tune and lyrics from the popular Marathi lavani ' Latpat Latpat Tuzha Chalna ' and its arbitrary fusion with the traditional Mangla Gaur hymn ' Naach Ga Ghuma' in a mish-mash of wildly different genres. Notwithstanding the serious bafflement over why one would expect anything beyond ostentatious sets, larger-than-life song-and-dance sequences and a sensational re- interpretation of a historical story from Bhansali – going by his filmography so far or given that he has never claimed to be a Richard Attenborough – the annoyance over the distortion of history and anthropology is legitimate. If you're a Punekar, who has grown up hearing stories about a quaint era that has been etched in your city's collective consciousness, your displeasure with its unrealistic on-screen portrayal is understandable. History lessons told you that Kashibai Peshwa had a limp in her leg, and could not possibly have gyrated her hips to such a caper, much less with a woman she is known to have formally met just once in her life. So, this song makes no sense to you? Fair enough. But, despite being a 'Puneri mulgi' myself, and having grown up around several of the aforementioned Marathi Brahmins affronted by ' Pinga' , I found something particularly disconcerting about the onslaught of venom directed towards the song, which is how quickly and smoothly it escalated to acquire a distinctly jingoistic veneer. Sighted online were more than a few eye-wateringly long threads, shaming the "inappropriate" attire (read: low waist nine-yard or nauvari sarees) donned by the leading ladies in the song. Many of the objectors, who I couldn't help but notice clearly had 'upper caste' surnames, have sanctimoniously voiced objections on how "a decent Maharashtrian lady, especially one hailing from a royal family, would never reveal this much skin, as if she were an item girl” – a statement that could frankly serve to stereotype and offend both groups of women. Some of these self-proclaimed guardians of Marathi culture insisted, "Learn to drape the time-honored nauvari in a respectable, khandani manner,” making one wonder whether they were protesting the lack of authenticity perceived in the costumes or their supposed skimpiness. One person even went so far as to comment on how the dusky Chopra does not possess the "fair skin and delicate features” of a Chitpavan Brahmin woman. Others have lashed out about how showing a Peshwa queen dancing in a "vulgar” manner could "mar the essence of Marathi tradition”. A piece on a reputed online publication in its critique of the song declared that no Marathi woman "bobs her head like that”. This frenzy not only releases a whiff of blatant patriarchal sentiment, but also leaves you with a disturbing aftertaste of casteism, classism and a smuggish re-assertion of Brahminical superiority – which is (supposed to be) plain astounding in this day and age. What's more amazing is that few seem to be bothered about aspects of the song that actually warrant critical analysis, such as how it doesn't mirror the repressive attitude towards women in the Peshwa society and instead, paints a false, happy, shiny picture of ' soutans being sahelis'. Nah, all most people seem to want to tut-tut about is the "immodesty" of the costumes; all they seem to be disgusted about is the objectionable choreography, which "does not behoove the virtuous Peshwa ladies". As someone who likes to call herself a liberal in a city where I have observed a substantial section of the local populace to be fairly conservative, one of my biggest pet peeves continues to be the casual spectacle of purebred fanaticism we're still faced with everyday – especially when it comes to challenging Pune's erstwhile heritage, even in an instance as innocuous as this which involves the medium of cinema. For now, it appears that I'm going to simply have to wade through this wave of righteous, jingoistic outbursts that have taken over my social media feeds, until the furore over this great insult to the glorious times of Maharashtra – when demurely dressed Marathi girls didn't disgrace their families by prancing around in public – dies down. Mrunmayi Ainapure is a freelance writer based in Pune. पुणेरी लोकांना झोडपले आहे.मला काय नीट कळलेनाही,ा