Pinga or Panga?
After release of Deepika Padukone and Priyanka Chopra starrer Pinga song, Sanjay Leela Bhansali had not even started relishing his sweat-bud Bajirao Mastani, and his dream project got surrounded by controversy and allegations. As Bajirao Mastani was a period film, and also a SLB work, the viewers’ eyes were supposed to watch its every element with zoomed lenses. And where it had an involvement of Indian culture and history, it had to catch more attention.
India is world-wide known for its culture, traditions and diversity. Indians do not just follow, but worship their ethnic foundation. They indeed possess a deep love and sentimental values for such period films, as they adopt and admire them as the mirror to our heritage. And so they can’t tolerate any loose-points too, when it is about the belongings of the history. Pinga song of Bajirao Mastani got caught by all related aspects.
Another Untold Fact
What is so controversial in Sanjay Leela Bhansali’s Deepika-Priyanka starer Pinga song, when asked by one Bollywood freak who was a Pinga lover too, the safeguards of history and Maharashtrian culture jumped into the battlefield of social networking platforms and blogs. They had also enjoyed the song when they had watched it first, but what to do! A man called perfectionist is watched for his work with wider eyes. When someone praises something, it becomes others moral duty to scrutinize deeper. Those who didn’t know about the anthropological loopholes of the song; they also got active to add their stream in the flood of positive-negative comments.
What Went Wrong?
A Sanjay Leela Bhansali project is known for smattering space for loopholes because of intense heart and soul that this director put into. This time, the team did great at aesthetic aspects, but somewhere ignored the historical, traditional and anthropological aspects of the Peshwa era. The problem is, when a period film is made, the balance is essential to be made. In case of Pinga, the glamour quotient went higher which came because of lavani style mixed in Pinga’s folk style. The assimilation was not only in Pinga dance style, but also in the costumes of Deepika Padukone and Priyanka Chopra.
Rest of the soup was spoiled because of comparison between Pinga and Dole Re Dola of Devdas. The competition went on not only between the duo actresses Deepika-Priyanka and Madhuri-Aishwarya, but also between the sets and other elements.
This was not it yet, the issue of copying music and lyrics of Pinga proved the fuel in fire.
Let’s know about all those glitches behind Priyanka-Deepika’s Pinga song controversy and questions which every viewer wants to ask to Sanjay Leela Bhansali!
Are the Costumes of Deepika Padukone and Priyanka Chopra Appropriate for that Pehwa Era?
First, the Pehswa family background had traditional base where low-waist style of draping a sari was obviously not in trend. The nine yard saree covers the lady wearer completely. Kashibai had belonged to a Maharashtrian Brahmin culture and family who would not had donned her outfit the way it is featured in the Pinga song.
The used texture of the costume was not an available option in that era, and so appears unauthenticated.
Pure Marathi Essence Suffered Because of Fused Glamour
Somewhere, the dresses of Priyanka and Deepika in Pinga song appear more glamorous than genuine. The Maharashtrian style of draping a nine yard saree is being adopted incorrectly in Pinga song. The pure Marathi essence seems badly fused with glamour.
The used material, style of draping the sari and the overall presentation of the song, all three have glitches.
Is Choreography of Pinga a Mismatch of Dance Forms?
The untainted Marathi culture that audiences and history lovers expected is missing somewhere. Here is how!
Lavani: A dance form focusing double entendre and erotic emotion.
Pinga: A folk dance style that is performed during traditional festivals such as manglagour (mangalagauri program), nag panchmi, and bhondla in Hindi lunar month Shravan around monsoons. As part of one function, women pamper the newly wedded girls collectively in local area or house. They sing, dance, celebrate and worship Shiva-Parvati.
Both Lavani and Pinga belong to Maharashtrian culture. With Nath and Navari sari and beat to beat dance, one needs to understand the occasion as well. In Pinga, sensational moves are merged with adoring gestures, which seems a mismatch for the occasion.
Pinga Emerged as (More of) Lavani
Remo D’souza, the choreographer of Pinga has fused traditional Lavani and folk Pinga. Barring some of the signature steps of folk dance Pinga, others are of Lavani. Pinga is a form that is performed by close-knit of Mahashtrian families’ women on traditional festival occasions or at functions with typical gestures using hands, where eroticism, head-bobbing and much use of belly are not the parts of it which Deepika and Priyanka are seen with during Pinga dance steps.
It seems the team Pinga of Bajirao Mastani wanted to present Pinga but mish-mashed ending it with more of Lavani.
Was Kashibai and Mastani Relationship that Strong; Really Being Co-Wives (Sautan)?
Obviously this Pinga can’t be celebrated for a newly wedded girl as why Kashibai would pamper Mastani, for sharing her husband with his new wife?
If this was not the case, Priyanka as Kashibai appears celebrating the moment when Mastani Deepika had worn the Maharashtrian styled nauvari sari first time. But which lady would rejoice with a co-wife this way?
However, Kashibai and Mastani are said to not meet many times to share such a friendly relationship, the way they are dancing and rejoicing together.
How Closely the Elements of Bajirao Mastani’s Pinga Justify the History?
Kashibai, in history, is said to had have tuberculosis and arthritis due to which she had limp. She couldn’t dance the way it is shown in Pinga.
Second, she was not in a dance routine as it was not a part of her culture in that era.
Is Pinga Song of Bajirao Mastani Not a Well-Detailed Song?
Deepika Padukone’s character Mastani was not a courtesan or dancer; she was a Mughal Princess, a daughter of Bundelkhand’s Raja Chatrasaal.
Kashibai was Bajirao’s first wife and daughter of Chaskar Joshi AKA Mahadji Krishna Joshi who were from Chaas.
One question on grounds of authenticity floats is, “Were queens of that Peshwa’s era who were belonging to the above background could dance this way?”
Sanjay Leela Bhansali’s Pinga Music Recalls a Melody and Lavani: Lavani Latpat Latpat, Lavani Chabidar Chabi, and Folk Rendition Nach Ga Ghuma
Not only the music and beats, but the lyrics also sound lifted from old Marathi tracks:
Song (Lavani): Latpat Latpat Tuza Chalana Film: V Shantaram’s Amar Bhoopali (1951)
Song (Folk): Nach Ga Ghuma Film: V Shantaram’s Chandanachi Choli (Program: Mangalagaur)
Some elements of the song give glimpse of famous lavani, titled as Lagali Konachi Uchaki.
On-the-whole for the get-up of a Maharashrian woman, the preset image of most of the people revolve around a Nauvari, nath and some patent lavani steps. But the fact is Lavani is not the only form; there are many others like Pinga, Phugadi, and Jhimma. And yes, Lavani is different than Pinga.
What Is Missing? Pinga Reminds Dola Re Dola! Are They Similar, or Different?
Right from when it was revealed that the face-off between Priyanka and Deepika will be seen in one of Bajirao Mastani songs, every eye was set on it to witness. Without knowing much about the song, there was a charm to watch it because people had Dola Re song in mind which was a work of genius by team: Director Sanjay Leela Bhansali, choreographer Saroj Khan, Dancing Queen Madhuri Dixit and the Diva Aishwarya Rai. People had fallen in love with the song and its signature step right on the first sight. Taking that vision in mind, Pinga of Bajirao Mastani had been much awaited. So does it recreate the same magic of Dola Re of Devdas movie?
Yes it’s amazing where the hard work of Deepika Padukone and Priyanka Chopra is clearly visible, but it’s also true that Madhuri and Aishwarya starrer Dola Re was something else altogether. That was closer to perfection when it is about blending the costumes, set, choreography and filming for making a stunning song. The choreographer of Pinga, Remo D’suza serves teaming Lavani and folk dance style ‘Pinga’. The combination of Bharatnatyam and Kathak in Dola Re was more impactful.
Is Sanjay Leela Bhansali’s Bajirao Mastani Not a Well-Researched Film?
It would be wrong to say yes because who will want to spoil his own dream project?! Sanjay Leela Bhansali and his team have left some obvious flows which I guess happened because the historic evidences that they followed as the base were not detailed enough to bring out such a film landed on a massive scale.
However the hard work of the whole team including Sanjay Leela Bhansali, Remo D’souza, Priyanka Chopra, Deepika Padukone and set designers is visible and admirable for shed sweat behind bringing this out. The expressions, long dance sequences, round directorial part, the set, use of lamps in it, and other elements shows their efforts. If the required pure Marathi essence would have garnered appropriately, Bajirao Mastani’s Pinga would have come up as something else.