A unique philosophical and spiritual perspective on literature, architecture, and art is known as
Indian aesthetics. A rasa is a term used in Indian aesthetics to describe an essential mental state. It also refers to the main emotion that is evoked in the viewer, reader, or listener of a
masterpiece.
Although the idea of rasa is central to many forms of Indian art, including dance, music, musical
theater, film, and literature, there are significant differences in how each rasa is approached,
interpreted, used, and actually performed.
And the use of the Indian aesthetics in Bollywood films is done by none other than the man who
himself is known as the Architect of Indian Cinema Visuals- Sanjay Leela Bhansali. He is an accomplished Hindi film director, screenwriter, and composer. His complex sets are not only physically gorgeous but also highly expensive, and he is a filmmaker with a keen eye for detail.
Beautiful settings in far-off places are a film's heart and soul. The world of cinema is opulent, fanciful, and out of this world. After all, this man is credited with producing some amazing movies. His intricate settings are not only beautiful to look at because of his meticulousness, but they are also highly pricey. Let's take a look at the extravagant and expensive set designs created by Sanjay Leela Bhansali, an architect with natural talent. He never compromises to reduce costs. As a designer, he would create masterpieces with each job, adding complex details and regional quirks.
We'll look into Sanjay Leela Bhansali's top 2 movies and how the set design, camera angles and
the costumes add to the grandeur-ness of the Indian aesthetics in films.
Devdas
Who can deny their memory of Devdas? Classic example of Sanjay Leela Bhansali's
skill as a filmmaker is the film he made based on the same-titled classic novel by Sarat Chandra Chattopadhyay. The colonial architecture of Calcutta served as inspiration for everything, including Paro's haveli and Chandramukhi's Brothel. Other highlights of this film included the performers' performances, the well-known Madhuri Dixit and Aishwarya Rai dance number on "Dola Re Dola."
Talking about the climax, when the movie was running out of time and money, The colour pattern of the entire corridor that Paro travels through was altered by Bhansali.
Overnight Bhansali insisted on painting it sky blue with Ajanta-Ellora designs instead of the intended off-white colour so Paro's white sari with a red border would stand out.
However, Bhansali's film, which is positioned as an explicit homage to Chattopadhyay, Barua, and Bimal Roy, also raises the possibility that Devdas significance and appeal may be fading into the past. This is because his lavish sets and costumes treat history more like a spectacle than as an artifact, making his depiction of early 20th-century Calcutta more like a lavish fantasy
than a lost, recreated era and place.
Padmaavat
Another well-liked film by Bhansali, "Padmaavat" was released in 2018. The set design for this film, which starred Deepika Padukone, Ranveer Singh, and Shahid Kapoor in important roles, was also a masterpiece of architectural design. The controversy surrounding this movie didn't stop Bhansali from finishing it. From the intricately carved Chittor fort to the Persian-inspired Allaudin Khilji's palace, everything was expertly planned and produced to the standards of SLB films.
Many fell in love with the lavish sets, stunning colors, and lavish accessories throughout the movie. It's interesting to note that Chittor Fort, in Rajasthan, was scheduled to be the location for the movie's principal photography, but due to protests and vandalism, Sanjay Leela Bhansali was forced to build the fort elsewhere, driving up the cost of the sets. Old Rajasthani miniature paintings served as a source of inspiration for the fort's designers.
The crew decided to use subdued colours for the interiors, and they also captured numerous still photos. In the digital intermediate, these photos were later colour adjusted to achieve the intended appearance. The fort had a large lighting system; 15 generators were running at any given moment.
But not enough to ruin the movie-going experience. It is a testament to Bhansali's skill and sensibility as a filmmaker that he can use other instruments at his disposal to arouse emotions and bring a tear to everyone in the room. Though Bhansali favours aesthetics over reality, he ultimately strikes a balance between the two through his emotive decisions.
Swetapadma Rout
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