by Nidhi Singh

In case you’ve been living under a rock for the past few weeks, “Bajirao Mastani,” Sanjay Leela Bhansali’s latest star-studded project, released its second song, “Deewani Mastani,” and has taken the world by storm.

In fact, this song marks Deepika Padukone’s, or Mastani’s, entrance into Baji Rao’s palace Shaniwar Wada, according to my reliable source Priyanka Chopra. Actually, this information comes from her personal Twitter page but I know I can trust my girl Kashibai. Or should I call her Alex Parrish?

Second song from #BajiraoMastani. When mastani comes in to shanivarvaada the first time…enjoy http://t.co/NB9sQiFPZD

— PRIYANKA (@priyankachopra) October 17, 2015

Let’s just break this down, shall we?

In plain words, “Deewani Mastani” is truly a masterpiece. From the choreography to the beautifully produced Qawwali-inspired music to Queen Padukone herself in Aina Mahal, the production for this song is out of this world.  

It’s evident in the two videos released by Eros Now (the full audio song and the official video) that Bhansali and his production team ensured that every element of “Deewani Mastani” was taken into serious consideration. No detail was left unnoticed.

The video catches your attention instantly as you see Bajirao, played by Ranveer Singh, sitting atop an intricately embroidered throne while Mastani enters the hall with her eyes locked on her love and a steady gait that complement the lyrics of the introductory verse.

But, let’s be real. None of us can stop staring at her.

[Photo Source/Tumblr]

Each character’s costume, including the background dancers’, mesh well with the musical style of the song. Anju Modi, the film’s costume designer who also designed Bhansali’s “Goliyon ki Raas Leela—Ram Leela,” stuns viewers again with her intricate designs. In a recent interview with The Indian Express, Modi said she spent a year-and-a-half researching Marathas in order to design pieces for the film.

But it’s Padukone’s work as Mastani that truly blows you away. Padukone steals the limelight as she seemingly glides across the golden dance hall with what seems like an effortless grace, while announcing to the world her love for the man before her. Padukone said she underwent serious kathak training to prepare for her role as Mastani.

But, take a closer look and you’ll see how Bhansali pays tribute to the hugely popular “Pyaar Kiya Toh Darna Kya“ from K. Asif’s “Mughal-e-Azam.”

Similar to Anarkali, Mastani is not afraid to exclaim her love in the midst of other dancers and viewers. The song’s set, choreography and even certain shots can be compared to those of the 1960 classic.

[Photo Source/Tumblr]

[Photo Source/Tumblr]

Padukone herself emulates much of Madhubala’s expressions and grace and adds a twist of her own style to introduce the world to a new “Anarkali.”

[Photo Source/Tumblr]

[Photo Source/Tumblr]

 Apart from the production of the official video, the music itself is breathtaking. The moment the song begins, you’re in for a classical showcase, which forces you to listen to the song on repeat for days. Clearly, I’m speaking from experience.

What amazes me most with “Deewani Mastani” is how you truly feel Mastani’s passion, lust and affection for Bajirao. Check it out below:

The music, lyrics, and artists transmit her love through the song extremely well, keeping you hooked and wanting more from the film’s soundtrack. Besides Shreya Goshal’s impeccable voice, you’re in for a treat once you begin to listen to the Qawwali singers who sing Maratha lyrics throughout the track. The artists carry a regal and passionate vocal style that bodes well with the entire musical production.

Now if you’ll excuse me, I’m off to listen to this song a few million times more as we wait for for Chopra’s solo track and the film’s actual trailer to release. I see what you’re doing Bhansali, but we’re going to need something more than the teaser trailer.

Enter Bollyshake’s “Bajirao Mastani” Dance Competition by November 12:

Enter the competition HERE

Nidhi Singh is a recent graduate from UNC-Chapel Hill with a degree in journalism and is taking this time to explore the world through photography, film, and words. She enjoys dancing, travelling, eating Nutella, and watching reruns of old “Friends” episodes (as should anyone!). Follow Nidhi on Twitter and Instagram to see where she takes her next selfeet.

By Brown Girl Magazine

Brown Girl Magazine was created by and for South Asian womxn who believe in the power of storytelling as a … Read more ›

Photo Courtesy of Varsha Panikar

“After so Long” is a poetry film created for Simha’s EP, which is streaming on Spotify, Apple Music and Amazon Music. The poem was collaboratively written by Simha, a U.S. native, and Jae, who is based in India, during the 2020 lockdown. “After so Long” was recited by Simha and their parents. In 2022, I directed and produced the film through my studio, Star Hopper. “After so Long” premiered on Nowness Asia in March 2022.

By Varsha Panikar

Varsha Panikar (they/he) is a filmmaker, writer and multi-disciplinary artist from India. They are the co-founder of Star Hopper, a … Read more ›

Being a teenager is scary. Hormones, high school, trying to fit in — add to it a flesh-hungry demon from the Indian subcontinent and it becomes downright terrifying. At least, that’s what award-wining director Bishal Dutta’s debut feature “It Lives Inside” will have audiences thinking when it hits theaters on Sept. 22. 

From the producers of several blockbusters including “Get Out” and “Us,” “It Lives Inside” stars Megan Suri as Samidha. Samidha is an Indian American teenager growing up in a quintessential small town, where she’s one of only a handful of South Asian faces at her school. She has a sweet, hardworking dad (Vik Sahay) and a caring, but stern mother (Neeru Bajwa). Both of them like their daughter home early to make prasad for prayers and insist no one whistles in the house, fearing it’ll attract evil spirits. 

[Read Related: Megan Suri Talks ‘Never Have I Ever’ Season 2 & Decolonizing South Asian Mindsets]

Tamira has become the center of school gossip carrying around an ominous black mason jar, dwelling beneath the gym bleachers. One day, she corners Sam in the locker room, begging her for help from the “monster” trapped in the jar, but Sam is rigid. Her desire to fit overcomes her emotions. Tamira storms out — and then mysteriously goes missing. 

Little does Sam know, her childhood friend’s behavior and disappearance were brought on by the Piscacha — a flesh-eating Hindu demon drawn to negative energy — and Sam’s disbelief has just unleashed its terror back on her. 

“It Lives Inside” is a breath of fresh air. It has the nostalgic backdrop of a 1980s teen movie (think “Sixteen Candles” or even “Halloween”) but adds the thrill of an exciting new monster for horror fans, and looks for the final girl.

Audiences have spent decades watching and screaming at faith-based horror stories like “The Exorcist,” “The Conjuring,” and “Carrie,” but “It Lives Inside” is the first of its kind for Hollywood, drawing from Hinduism for its frights. 

Now, I can’t lie…when I first learned the story would be rooted in Hinduism, I was nervous. I worried that religion and culture may be used as a gimmick, but I was pleasantly surprised. 

Dutta’s approach is reminiscent of Bisha K. Ali’s with “Ms. Marvel” on Disney+. Characters speak Hindi and we see South Asian religious practices, foods, and clothing displayed prominently, in a natural and authentic way that other groups can easily learn and understand. The culture merely rounds out the story, it’s not the main character or conflict. 

The Piscacha, feeding on the despondence of its prey, may remind some of Vecna from season 4 of Netflix’s “Stranger Things,” but Dutta offers a fresh angle, alluding to the characters’ negative feelings toward their culture being the source of its power.  

He offers South Asian American audiences relatable family dialogues and dynamics, but also steers clear of cliches like showing popular kids as mean or Sam’s American crush unlikeable.

“It Lives Inside” isn’t a horror movie you’ll lose sleep over, but that doesn’t mean it’s without palpable moments of fear.

Thanks to Dutta’s creative shots, smart pacing and sensory visuals, in addition to the emotion-packed acting of its cast, the film successfully makes your skin crawl and your jaw drop on several occasions.  

The characters are smartly cast with several standouts. Suri is a welcome new face for the horror genre’s final girl and she delivers her role with the right amount of escalating fear and desperation. Meanwhile, Bajwa leans into hers with the passion you’d expect from a protective brown mom, though, at times, some of her Hindi drama tells come through. 

“Get Out’s” Betty Gabriel is also noteworthy as Sam’s teacher Joyce and an early confidant. Her support of Sam was a refreshing break from the “this person must be crazy” trope we see so frequently in demonic films. 

All that said, “It Lives Inside” does border on being formulaic. It follows a template and scares we have seen numerous times and ones that have done well historically. 

But in its familiarity, it also manages to feel fresh. With its South Asian twist, the film proves that even formulaic horror films can find new life through diversity and inclusivity. It raises the idea that they have the potential to scare wider audiences and tell more spooky stories by exploring new cultures and casts. 

While “It Lives Inside” is not perfect — the climax may leave you with a few lingering questions — it is a stylish and well-made film and a welcome piece of mainstream South Asian representation.

[Read Related: Kamala Khan As ‘Ms Marvel’ Is The Greatest Thing To Happen To Pakistani-Muslim-Americans]

Recent past has seen South Asian stars delve into many different genres on television and the big screen, but horror has remained largely untouched. Thankfully, “It Lives Inside” has set the table for some brilliant South Asian-based horror films in Hollywood for years to come. 

“It Lives Inside” made its world premiere at SXSW and has made its way through the film festival circuit. It will be released theatrically by Neon on September 22. 

By Ramona Sukhraj

With a B.S. in Marketing from the UCONN School of Business, Ramona has made a name for herself publishing over … Read more ›

Haider wades his way through Karachi’s expansive beach, climbing and tumbling over rocks, in Mumtaz’s memory. The vast landscape is perfectly encapsulated in the 4:3 aspect ratio — an unconventional yet welcoming choice. He vanishes into the sea, leaving his storyline open-ended. The screen fades to black. The film comes to a close. The gentle humming and lapping of the waves disappear. However, I stay put. Stumped, and unable to comprehend the masterpiece that Saim Sadiq, director of “Joyland”, has blessed Pakistanis with.

[Read Related: Pakistan Had its First-Ever Trans Pride Parade in Lahore]

The winner of the jury prize at the Cannes film festival, as well as Pakistan’s entry for the Academy Awards 2023, “Joyland” has been marred with controversies (and subsequent bans) from the onset of its win. Ironic, since the film’s core message promotes tolerance and acceptance. Tolerance for unconventional norms, sexual/gender identities, and human emotions and desires.

“It’s so important to narrate these stories in today’s world, where we’re often divided and seldom united,” says producer Apoorva Charan during an exclusive chat with Brown Girl Magazine.

It’s her feature film debut as a producer, and she’s justifiably beaming with pride.

Joyland is such a win for South Asia, but particularly, Pakistani storytelling. Every person I met, I felt like there was some characteristic or quirk about them that mirrored our characters in the film.

Set in the depths of androon Lahore, “Joyland” primarily revolves around Haider (Ali Junejo) — a meek, unemployed house husband in a borderline, passionless marriage. He’s happily helping Saleem bhai (Sohail Sameer) and Nucci bhabi (Sarwat Gilani) raise three kids, while the fourth one breaks Nucci’s water in the opening scene. Another girl is born, despite the ultrasound’s previous declaration of a baby boy. 

“If I were to receive an award based on my character in “Joyland”, it’d definitely be for “best at single-handedly increasing the population of Pakistan,” says Gillani, as we howl with laughter during our spoiler-riddled chat with the cast of the film. “I think that, combined with the ‘coolest bhabi’ — those two will have my name on them.”

I think my philanthropic work plays a part in how I started saying no to bechari roles. How can I be a role model to these women I’m trying to help, while playing the same characters? The change came about with “Churails” and I vehemently stuck to it. My characters need to have a voice; a backbone.

On the other hand, Haider’s wife, Mumtaz (Rasti Farooq), works as a beautician at the local salon, busy dolling up brides in Lahore’s unpredictable load-shedding.

Both Haider and Mumtaz seem to have a relatively stable marriage based equally on societal expectations and gender-flipped roles. While Haider stays home, helps in the kitchen, and attempts at searching for a traditional job, Mumtaz carves autonomy and independence for herself. This is in spite of an oppressive family life characterised and dictated by Haider’s overly conservative, traditionalist father and patriarch, Rana (Salmaan Peerzada), who wishes for the couple to procreate a cricket team of just boys. 

But Rana, known as Abba Jee, is also layered with his own 50 shades of grey, struggling with loneliness and a lack of intimacy, mirrored in his relationship with next-door neighbour Fayyaz (Sania Saeed). His emotional desires are symbolised by his physical impediments — the former handicapped with “what will people say”, and the latter with a wheelchair. The rules that he has for his children are the same that his children have for him, bound by tradition, norms, and society. They are not allowed to stray from what is considered “normal”.

The film’s women are strong which is pretty much a reflection of the women in Sadiq’s life. While Abba Jee shuns the love and companionship that Fayyaz offers, she stands her ground until firmly asked to leave. The complexity of each person’s emotions versus expectations is what makes “Joyland” relatable on a human level.

Alternatively, Mumtaz’s relationship with Haider is based on convenience and habit, where two people share the same bed but sleep facing away (partially because one of Saleem and Nucci’s young daughters crashes with them every night, illustrating the confined space both Haider and Mumtaz are allowed to be themselves in). The dynamics of their marriage drastically evolve once Haider’s eye catches Biba (Alina Khan), covered in blood as she walks numbingly into the hospital where Nucci gave birth. The introductory scene mirrored the brutal reality of violence inflicted upon Pakistan’s trans community; one of “Joyland’s” most haunting moments. 

Mumtaz is asked to quit her job once Haider lands a gig as a “theatre manager” — a cover-up for his job as a background dancer at the nightclub Biba coincidentally performs at. The film portrays the traditional Pakistani marital social dynamic; men must work, and women must housekeep. Even when some level of independence is allowed to a married woman, she must forego her right to a career later in life. Understandably, it leaves Mumtaz devastated.

“It’s so strange how that’s just an acceptable act in our society,” Farooq chimes in, voicing Mumtaz’s thoughts. “Even if a woman is good at a 100 things, ultimately, she’s expected to quit her job to be a homemaker because that’s ‘her job’.”

With time, Haider falls into a routine and rhythm of working at the theatre and spending more time with Biba, allowing him an insight into the widespread transphobia she’s regularly faced with. Biba confides her innermost desire to be what she termed as “a complete woman” in order to land the same dancing opportunities as her counterparts.

 

View this post on Instagram

 

A post shared by Saim Sadiq (@saim.sadiq)

Haider’s daring closeness to Biba leaves Mumtaz — who at this point is reliant on him as a best friend more than the physical intimacy he fitfully provides her — alone, isolated, and depressed. For Haider, it is liberating to leave problems at home and escape into a secret world centred around his deepest desires. He doesn’t want to be a bad person. He doesn’t wish to hurt or leave his wife. But his happiness now seemingly lies in dancing and exchanging stolen kisses with Biba. Farooq agrees:

I think Mumtaz and Haider were best friends at this point. They had an unspoken love for each other, which stemmed from the sanctity of their relationship. They might not be in love but they did love each other. In the eyes of our society and otherwise, they were married, but they’d drifted so far apart. There was love but it wasn’t possible to return from how distant they were.

This point of no return brings Haider to a crossroads — one where he is torn between his loyalty to Mumtaz and his love for Biba. Ultimately and ironically, in a particularly passionate moment, it is his curiosity pertaining to Biba’s sexuality that drives her to throw him out of her life. Defeated and guilt-ridden, he comes face-to-face with a pregnant and non-confrontational Mumtaz, who, by now, is aware of what Haider has been up to but doesn’t have the mental capacity to verbally digest his infidelity alongside a child she doesn’t want.

Her apprehensions about bearing and raising children are indicated throughout the early days of her pregnancy. The clutching of her stomach, the tightening of the rollercoaster belt during a visit to Joyland park, and her unease during the ultrasound are just a few examples of Mumtaz’s angst. 

Abba Jee’s 70th birthday was the straw that broke the camel’s back. Mumtaz, surrounded by family and friends and feeling emptier than ever, takes her own life. A tragic full circle where one life ends as the other begins. Her suicide is harbingered by Rana’s birthday speech as he recalls a palmist once saying his bloodline would end with Haider. 

[Read Related: #JusticeforJulie: Pakistan’s Failure to Protect its Vulnerable Trans Population]

“Joyland” is replete with polarity. There is a seamless hand-in-hand flow of happiness and devastation, longing and antipathy, birth and death. Pakistani society’s struggles with misogynistic gender roles are depicted in the most gentle, sensitive, and nuanced ways. The struggle is also ironic, considering Pakistan has one of the most progressive transgender legislations in the world. Trans people have the right to self-identify their ­gender in Pakistan – a right still denied to the trans community in many progressive countries, such as the UK.

A deeply reflective film with memorable and emotional characters doing justice to their performances. It’s currently running in cinemas here in the UK, and we highly recommend watching this poignant piece of art.

Photos Courtesy: Studio Soho/Khoosat Films

By Queenie Shaikh

Desk bound by day and travel bound all other times – Queenie thrives on her weekly dose of biryani and … Read more ›