For Mastani, Modi used a mix of Persian and Muslim clothing of muslin, khadi and thin Chanderi fabrics, with mukaish and hand embroidery to depict her half-Muslim heritage. Some of the outdoor scenes were filmed at the Chopra resumed filming in the first week of April 2015 for a month. Krishna Bhatt kills Shiva Bhatt, enraging Bajirao. Bajirao, Mastani and Kashibai wanted us to make this film only now. He had long admired the Maratha backdrop and the different religions of the protagonists—Bajirao was Hindu and Mastani was Muslim—which further drove his interest towards knowing more and telling the story. Mastani's room in Bundelkhand was crafted using a mix of Persian, Mughal and Rajput motifs and architecture. Craftsmen were hired to recreate 18th-century textures, fabrics, weaponry, jewellery and furniture.
A sequence in which Singh crosses the sea in a boat at night was created using visual effects. A disclaimer on the film's credits stated it does not claim to be historically accurate. The scenes that were shot on set and featured outside views, such as views from windows, were completed in post production. The film was edited by Rajesh G. For making the saris, fabrics such as silk, muslin, and worn in that period were designed. Because of this lack of information, Bhansali took liberties with historical facts and exaggerated a few things for cinematic effects.
While travelling to , an emissary from enters Bajirao's tent and requests his help to fight invaders. Although adapted from the novel, the romance between the film's protagonists has not been well documented in history books or archives and several versions of the story exist. Bajirao Mastani went on to win nine awards, more than any other film at the ceremony, including , for Bhansali, for Singh, and for Chopra. Recipient of , Bajirao Mastani won seven , including and for Azmi. Palande-Datar also said that there is no evidence of the way Bajirao and Mastani's political marriage became part of folklore and was later transformed into a symbolic representation of great romance. The sound recording was done on location. The filming was challenging for Chopra and Padukone; they had to shoot for the dance sequences multiple times whenever the and torches used to light up the background would snuff.
Kashibai tells Bajirao he has broken her heart and compares their love with that of and. Chhatrasal is overjoyed and insists Bajirao spend with them in Bundelkhand. When the film was finally announced in 2003, Bhansali had cast Khan and in the titular roles, with playing Baji Rao's first wife Kashibai. Later that month, Singh joined the shoot. Historian Prachi Deshpande notes in her book Creative Pasts: Historical Memory and Identity in Western India, 1700—1960, that the public fascination started after their romanticisation began in the 1890s, more than 150 years after they had died, after Marathi playwrights began writing a series of nationalistic plays based on the historical figures. Although the film was shot on highly detailed sets, visual effects and was incorporated in post-production to enhance the imagery for the scenes that were impossible to shoot in live action.
A embellished with jewellery such as uncut diamonds and pearls was designed. Bhansali wanted a grand opening title design, which the team decided to create using animation. Softer colours with Persian influences such as shades of powder blue, mint green, pale yellow, aqua blue, powder pink and other typical porcelain colours were used for her clothes. Bhansali then shared the script with the art directors and described his vision and the scale of the production. And I strongly believe that the souls of. The song was shot at night on an open-air set decorated with diyas and torches, many of which would snuff out while filming the song.
More than twelve people would run around the set with candles and oil to relight them. The lyrics are written by Siddharth—Garima, and Prashant Ingole. Other inaccuracies include Mastani playing a , an instrument that originated in Europe during the 19th century. The team also designed props including different types of tents, lighting props, and elephant and horse decors for the war sequences. The following month, joined the cast as an antagonist. Kashibai relays this news to Bajirao, who rescues both of them. Khan then tried to suggest his then-girlfriend for the role of Mastani but things did not materialise.
Three war sequences were filmed in , and. He praised Singh and Chopra, but disliked Padukone's performance. The makers acquired the rights of the novel and worked with historian. She agrees, despite his warning, and he declares Mastani his second wife. Padukone was predominantly given and its derivatives such trailing shararas, shararas with less flare and crinkled shararas made of. It was constructed on Sunil Maidan, one of the biggest open spaces in Film City and took forty-five days to build.
Chatterjee had done extensive research before starting the film. Bajirao says that although he loves Mastani, his life and allegiance is always to his cause and he leaves for the battlefield. Interestingly, Eros also commented to the tweet informing Elon that he can watch the movie on its official site. In spite of Shripad Rao's self-nomination as the Peshwa, Ambaji Pant nominates a young. During a storm, Bajirao crosses the river and chides Mastani's persistence, reminding her he is already married and that his court will never respect her if she is in a relationship with him. Sham Kaushal co-ordinated the action sequences for the war scenes.