Publishing- Emotional Furniture

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Sanjay Leela Bhansali’s

Emotional Furtniture



SANJAY LEELA BHANSALI’S

Emotional Furniture by Sanjana Deshmukh


WW William Collins An imprint of HarpercollinsPublishers 7th Lane Koregaon Park, North Lane Road, Pune, India www.WilliamCollinsBooks.com First Published in India by Sanjana Deshmukh in 2017 First published in the India by Sanjana Deshmukh, an imprint of the Crown Publishing Group, a division of Random House LLC, a Penguin Random House Company, New York in 2013. Copyright Sanjana Deshmukh 2017 4 6 8 10 9 7 3 5 The right of Sanjana Deshmukh to be identified as the authors of this work has been asserted by them in accordance with the Copyright, Designs and Parents Act 1988. Book design by Sanjana Deshmukh Printed and bound in India by Kadam Printers India Ltd. All rights reserved. No part of this publication may be reproduced, transmitted, or stored in a retrial system, in any form or by any means, electronic, mechanical, photocopying, Recording or otherwise, without the prior permission of the publishers. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of Binding other than that in which it is published without a similar condition being imposed on the subsequent purchaser


Acknowledgment

When a movie is over and the credits roll, we are always amazed at how many hands have touched a major film production. And while we didn’t use any special effects supervisors or stunt doubles in the production of this book, it was a very interesting project. First and foremost, we own a debt of gratitude to Sanjay Leela Bhansali for his remarkable contribution to the film industry. Would like to thank Mr. Matthew Kuiren and Bipin Daftadar for giving inspiration and sacrificing himself for our freedom. Lastly, to the readers who took interest by taking time to read this book.


Contents

Introduction to Sanjay Leela Bhansali Introduction to Props Significance of the Sword Significance of the Curtains Significance of the Fountain Significance of the Fire Significance of the Saree Significance of the Chandelier Significance of Diya

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13 15 17 19 21


Significance of Significance of Significance of Significance of Significance of Significance of Significance of Significance of Significance of

the Swing the Colors the Bubble the Lights the Characters the Umbrella and Guns the Backdrop the Mirror the Tiger

25 27 31 33 37 47 51 53 55


Sanjay Leela Bhansali He is an Indian Film Director, Producer, Screen-Writer and Music Director born on 24th February, 1963. He is one of the most critically acclaimed film makers in Indian Cinema. Bhansali is the recipient of several awards, including the National Film Awards and Fimfare. In 2015, the Government of India honored him with the Padma Shri, the fourth highest civilian award. Bhansali got his middle name after his mother, Leela Bhansali who was his whole and sole support throughout his life. Bhansali was never on good terms with his father, Navin Bhansali who struggled with alcoholism and eventually succumbed to it.. Bhansali began his career as an assistant to Vidhu Vinod Chopra and was involved in the making of Parinda, 1942: A Love Story and Kareeb. He made his directorial debut with Khamoshi: The Musical. He is also an alumnus of the Film and Television Institute of India and the founder of a production house, Bhansali Productions.

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About Props Prop is anything the gives the scene, actors or performance space specific period, place or character. It makes the scene look more authentic and makes it belong to a specific location. Props may vary from meaning everything to meaning nothing at all. Most of the times, props are there to tell a story. In essence, the props are an extension of the characters personality. They make the scene more authentic or help actors play their role adequately. They are mostly used in conveying the time and place the narrative is set in. Props are often the only indicator of what decade, or a cultural movement that particulate story is set in. Props maybe there as an allegory for something else, much in the same way as painters hide clues to the meaning of their paintings in form of objects. It could be the color of the object that is significant, or perhaps it’s unusual appearance or location.


Sword This is a scene in Bajiirao Mastani. The Sword in this scene is used to represent her agitation and despair. She is shown to be fighting the virtual battle against the religious customs and rituals that have kept her away from her love. All her life, she has been taunted and looked down upon having a Hindu father and Muslim mother. The sword helps show her helplessness towards to entire situation.




Curtains Curtains are one of Bhansali’s favorite props. A curtain can mean alot of things, sometimes in the same movie. In the scene where Peshwa Bajirao(Ranveer Singh) comes to meet Mastani(Deepika Padukone) in her chamber(picture on the right), the curtain between the two represents a secret affair. Also, it shows the religion barrier that is there between the two. It gives the audience an idea that the path ahead isn’t going to be easy for them. In the song, Deewani Mastani(picture on top), the curtain is a symbol of her coming out. Mastani leaves her entire world behind and breaks all barriers to be with Peshwa Bajirao. Also, the curtains represent her breaking free.


ICurtains can represent barriers, division, differences and helplessness. In Saawariya (left page), the curtain shows difference in Raj’(Ranbir Kapoor)s and Sakkeena(Sonam Kapoor)’s character and religion. n Guzaarish(picture on top), the curtain serves as a symbol of hope. The light enters a dark room after the opening of the curtains which represents hope in Ethan’s life. In the picture on the bottom right, the curtain shows his helplessness and him being handicapped because of the wheelchair. The curtain serves as a symbol of his paralyzed Situation.The curtain also becomes a short hand for passion and sexual desires. The curtains also depicts the mood of the character. If the characters are upset, so are the props. In the movie Hum Dil De Chuke Sanam, Nandini(Aishwarya Rai)’s father is furious at Sameer(Salman Khan) for secretly marrying Nandini and hence in the scene, the characters are raging with anger and looking at the color of the curtains, it’s quite evident that the curtains are feeling the same. In this scene in Devdas, the characters are arguing over their relationship and a storm is shown in the background. Due to the heavy winds, the curtains are flying angrily depicting the mind-set of the characters. The characters in this scene are upset and so are the curtains.




Fountains In this scene in Bajirao Mastani, Mastani(Deepika Padukone) gives Peshwa Bajirao(Ranveer Singh) the news of her pregnancy. His happiness is depicted using the fountain. They are shown to be standing in the middle of the fountain with the water flowing in from all sides. The fountain in this scene represents the love and happiness that is showering in their life from all sides. Also, the glow on her face says the same.


Fire The props in Bhansali’s films, wax and wane depending on the characters mood. Fire, in all three images marked as a symbol of beginning of destruction. In both Bajirao Mastani and Devdas, the fire srves as mark of destruction of the two characters. In both the cases, both the characters began selfdestruction. Sometimes the entire house heaves with emotions.




Saree In Devdas and Hum Dil De Chuke sanam, Paro’s and Nandini’s(Aishwarya Rai in both the cases) saree represent marriage and bondage. In both the scenes, we consider the sarees to be something that can/might hold them back. Also, the audience constantly feels the saree to be something someone might use it to stop them. In both the cases, it is the families respect and peoples opinion about the families that stops them from being with someone they love and eventually ending up with someone their parents/families chose for them.


Chandeliers The behavior of changes according

the characters to their mood

with the props and the situation.

The number of props also depends on the characters situation. In the above picture, the chandeliers represent the confusion and frustration that is going on in the character’s mind due to his family opposing his love for another woman. Also, the color in the back ground helps increase intensity of the situation.




Swings The props move depending on the characters mind-set. As the mind weavers, so do the props. This is a scene in Hum Dil DE Chuke Sanam, Nandini(Aishwarya Rai)’s father forbids her to meet Sameer(Salman Khan) or have any sort of relationship with him. The swing in this scene is a symbol of situation and it shows how her mind is wavering in depression and helplessness. All her attempts to be with him had been in vain and also all her attempts to convince her father. Her father is shown to be a typical orthodox father who is extremely concerned about the family’s name that he fails to see his daughters feelings. All these emotions are depicted by the back and forth movement of the swing.


Colors Colors can be used to depict a number of emotions. In the picture on the left page, colors are used to depict the feeling of lust and passion that Ram and Leela(Ranveer Singh and Deepika Padukone) are feeling towards each other. Also, red color(Gulal) is the color of passion and love. Whereas, in the image on the top and bottom, the colors are used to depict joy and victory. In the song, ‘Silsila Yeh Chahat Ka’ in Devdas, the diya that Paro lit as symbol of her love for Devdas hasn’t blown off in 10years and that fact that it survived a thunder storm, makes her believe in love more than ever and hence the splash of color as a mark of her being overwhelmed. Again,in red as it represents love and passion. Whereas, in the song ‘Malhari’ in Bajirao Mastani, the splash of colors is a significance of his victory in the battle against Nizam, a cunning Mughal ruler.




Bhansali does not always use colors as a mark of victory or the color red to depict love and passion. In this scene in Bajirao Mastani, just before the Gajanana Arti, Kashi Bai(Priyanka Chopra) gets the news of Mastani(Deepika Padukone)’s assasination being planned. The colors depict her being in a dangerous yet difficult position as to whether or not to save Mastani. Also, the dense use of the red color gives the audience a feel of something bad and terribel is about to happen. The exact same use of colors along with the density has been used in the movie Agneepath, in the song ‘Deva Shri Ganesha’ where also, a murder has been planned during in the of the song, exactly in the same way as it is in the picture above.


Diya Bhansali is also very fond of Diya(lights). The diya’s represent hope, desperation, festival and happiness. In in the left most picture, Kashi Bai(Priyanka Chopra), is happy onher husbands return and this is depicted with the help of her walking through the diya’s and also her celebrating the moment by lighting a few more. In picture on the top, Paro(Aishwarya Rai)’s diya represents hope and desperation in her eyes who are waiting for her beloved since 10years. Also, Leela(Deepika Padukone) is lighting the diya as a mark of her waiting for Ram(Ranveer Singh) to arrive. In the song ‘Pinga’, the diyas are a representaion of the festival of Padwa.






Bubble This scene in Guzarish is a dream Ethan(Hritik Roshan) gets after his spinal injury. Bhansali used a bubble to signify the feeling of liberation and freedom which Ethan desperately wants to feel. Ever since his injury, Ethan has felt helpless and like a vegetable. The bubble is used to show that hewants to feel free again. Free from the wheel chair, free from is injury and most of all, free from the fact that he has to depend on someone or the other to get simple things done. His despair and helplessless is depicted through the dance and the bubble signifies freedom. The ray of light is used tp show light at the end of the tunnel. It is the peace and freedom which he feels he might gain after death since there is no cure to his injury. Hence he gets the idea of Mercy Killing and files a petition to the court to do so.


Lights Bhansali is alos incredibly fond of lights. Lights are used to depict miracles, power and auora/personality of a person . In the picture on the left, Sakeena(Sonam Kapoor) is expressing her love. The light and dust particles are used to show her feeling over-whelmed by the love she feels towards Salman Khan. In Guzaarish, the lights in place of the audience is used to show the miracle that is his magic. and the wonders he can create with it. The bightness shows how mesmarized the audience is with his art of magic. In Bajirao Mastani, the golden color with lights behind and around the throne depicts the powerful empire and mesmerizing auora and personality that is Peshwa Bajirao Ballad (Ranveer Singh) himslef.




Guns In Goliyon Ki Raas-Leela Ram Leela, the guns are saying what Ram and Leela aren’t. The guns are a symbol of the enimity and rivalry that is going on in between the two families since severl generations. The guns depict the natural hatred that is supposed be there between the two, given their family back ground. Looking at their expressions though, it is quite evident that hatred is not something they truly feel for each other. Even the splash of dense color in the back ground is a depiction of how involved they are into eachother that they literally cannot see the ouside world.


Mirror In Devdas, when Chandramukhi (Madhuri Dixit) sees Devdas (Shah Rukh Khan) for the first time, she is so over-whelmed by his presence in her green room that the mirror shatters on impact. Here, the mirror becomes a motif of her feelings towards Devdas.. The exagerated depiction is to make her affection obvious to the audience.




Backdrop Backdrops play a major role in depicting the mood and authenticity of the situation and character. In Bhansali’s films, the color of the backdrop changes along with the level of intensity of the mood. Like in the picture on the left, the deep orange plus red color is used to depict the blood bath that is about to happen and on the picutre on the right, the entire set is in Brown which is used to depict his intense attitude so that the audience takes him and the scene seriously.


Tiger In Bajirao Mastani, when Pehswa Bajirao (Ranveer Singh) goes to visit Qamar udDin Khan (Raza Murad) for asking him for a settlement instead of a battle, the Khan is shown to be petting a tiger during his conversation with Peshwa. The tiger in this scene is depicting the cunning nature of the Nizam. Just like the tiger, his only motive is to slyly trap his prey and then pounce on him. The resemblence of Qamar ud-Din Khan to the tiger is pretty evident when things dont go his way, he commands hsi soilders to imprison Peshwa. This proves that all along his plan was to imprison Peshwa Bajirao even though the main motive of their meeting was a settlement to avoid a battle. Hence the Tiger in this scene makes complete sense.



High pitch and heightened emotions – welcome to the universe of Sanjay Leela Bansali, awolrdwherefeelingsarecapitalisedandcharactersthrashaboutinagonyorecstasy,whateverthecasemaybe. This is jouney into a world where obejcts are as intense as the characters. This is the wold of Sanjay Leela Bhansali. He takes his props and objects as seriously as his characters. Bhansali’s films are known for high drama. The histrionics spill over to the background elements. As the characters get emotional, so the objects. Nobody and nothing can escape from the emotions in Bhansali’s films. A single character animates passion in every Bhansali Bollywood production carries over to the surrounding objects and props. Curtains partner in sadness, lights revealing anger, typewriters speaks and swords get agitated even the costumes seem to come alive in Bhansali’s films. The actors of the films live like the characters. The objects come alive in every wing of the movies. Bhansali relies heavily on symbolism to convey the emotional state of his characters. In Bhansali’s movies, nearly every piece of furniture and, indeed, the whole house itself, seems to be participating in the ups and downs in the relationship between the characters of the movie.

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