<strong>EXPECTATIONS</strong> <em>Manikarnika - The Queen of Jhansi</em> is a dream project of Kangana Ranaut and she has given more than a year into making this happen. While it is expected that the film would have the much required scale, canvas and grandeur that the subject necessitates, the same is expected from music as well which is put together by Shankar-Ehsaan-Loy and lyricist Prasoon Joshi. <img class="aligncenter wp-image-941752 size-full" title="Music Review: Manikarnika - The Queen Of Jhansi" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Manikarnika-The-Queen-of-Jhansi.jpg" alt="Music Review: Manikarnika - The Queen Of Jhansi" width="720" height="405" /> <strong>MUSIC</strong> Shankar Mahadevan is the lead singer for <strong><em>‘Bharat’</em></strong>, a patriotic number which is about bringing the country first before your own self. One wonders if the song is primarily for end credits roll since its theme and tonality suggests a sober conclusion to the war drama that Kangana is bringing on screen. The soundtrack in fact concludes with another version which has Prasoon Joshi narrating (and not singing) it for the audiences. Meanwhile, Shankar Mahadevan is back with <strong><em>'Vijayi Bhava'</em></strong>, yet another theme track which is about moving ahead in the right direction and aim for victory. This is the song that should well have been positioned right at the beginning of the album since it comes with just the right kind of passion and energy that one expects from <em>Manikarnika - The Queen of Jhansi</em>. Reminding of the kind of soundtrack that <em>Baahubali</em> series boasted of, <em>'Vijayi Bhava'</em> should make for a good impression if picturised well on screen. Next to arrive is <strong><em>'Bolo Kab Pratikar Karoge'</em></strong> which has Sukhwinder Singh at the helm of affairs. Yet another song which is high on energy and should arrive at a crucial juncture of the film's narrative when the protagonist is gearing up for the battle, it has a thump to it that should make an impression when experienced in theatres. For the first time in the soundtrack a female voice is heard, what with Pratibha Singh Baghel coming behind the mike for <strong><em>'Rajaji'</em></strong>. A romantic number that should play between Manikarnika and her beau, this one has a sweet sound to it and should bring on some light moments on screen. Pratibha does well as the voice of Kangana and she is joined by Ravi Mishra who arrives in the later part of the song. Yet again, one can't expect the song to emerge as a chartbuster here but should fit in well into the film's narrative. It is back to theme songs in <em>Manikarnika - The Queen of Jhansi</em>, what with Shankar Mahadevan coming up with <strong><em>'Shiv Tandav'</em></strong>. As is expected in a song belonging to this genre, this one too stays on to be strictly situational and one waits to see how it is picturised for the big screen experience. Rest assured, one can expect Kangana Ranaut in a fiery avtar here. A song about waiting for the love of your life to be back soon, <strong><em>'Tak Taki'</em></strong> is yet another song that is rendered by Pratibha Singh Baghel. This too is a situational number and at best should aid in taking the story forward. With a period feel to it, this one does well though in staying well within the mood and ambience of the era gone by. The soundtrack concludes with <strong><em>'Dankila'</em></strong> which has a horde of singers coming together in the form of Prajakta Shukre, Shrinidhi Ghatate, Siddharth Mahadevan and Arunaja. A celebration number that should be set in the happier times of Manikarnika's life, <em>'Dankila'</em> should have arrived much earlier in the film's soundtrack. This one has the right energy to it with a peppy feel. <strong>OVERALL</strong> The music of <em>Manikarnika - The Queen of Jhansi</em> is in line with what the film's subject and narrative warranted. Though one doesn't foresee any chartbusters here, the songs should do well to aid the film's narrative. <strong>OUR PICK(S)</strong> <em>‘Dankila’</em>, <em>‘Vijayi Bhava’</em>, <em>‘Rajaji’</em>

Manikarnika: The Queen Of Jhansi
U/A: Biography
Director: Krishna Jagarlamudi, Kangana Ranaut
Cast: Kangana Ranaut, Danny Denzongpa, Ankita Lokhande
Rating:

As a film, this might seem a bit too ultra-patriotic/nationalistic for the fact that it's set in the mid 1800s, when the idea of India itself wasn't as concrete, let alone the concept of "Swarajya" (used here often), which was first popularly coined by Lokmanya Tilak, only born in 1856. The film itself though, right in its opening disclaimer, washes its hands of any pretense towards complete, uncontestable historical accuracy, which is only for the better. Helps you view it as a fabulous legend/fable first.

Be that as it may, the fact that the Indian Revolt/Rebellion of 1857, that began with the Sepoy mutiny, with Mangal Pandey firing the first shot, is widely considered the First War of Indian Independence, among Indians, can't be denied either. At the centre of this piece though, with absolutely no other players even in the periphery, understandably, is Rani Lakshmibai, born Manikarnika, a bibliophile 'brahmin' girl, raised by the Peshwa as a warrior, who eventually takes over as the Queen of Jhansi (currently in Uttar Pradesh). Yes, this is a big-budget, wholly star-driven, action-packed, period picture. Except the star is female, which is rare enough. Even if you consider Sanjay Leela Bhansali's Padmaavat (or Padmavati), where Deepika Padukone played the eponymous character all right, but the film focused on Ranveer Singh as the antagonist Alauddin Khilji far more. Speaking of which, this is the sort of passion project that Bhansali, as master of magnificence (Padmaavat, Bajirao Mastani, Ram-Leela), has excelled in to a point that subsequently similar works, by most other craftsmen, are likely to somewhat pale in contrast. And so while the inspirations here are obvious, it might be unfair to compare still. This holds just as true for any allusion to SS Rajamouli's astoundingly massive Baahubali, given that the screenwriter (Vijayendra Prasad) is the same.

For, the story here has to be enjoyed for its own worth. It relates to a legend that pretty much remains unsurpassed in Indian history—of a woman, who lost her husband, the king, and her little son, the heir, giving way to the British to take over her kingdom, with help of locals (as they almost always did), and a 'doctrine of lapse', which applied to heirless princely states.

Instead of wallowing in widowhood, as per tradition, the Queen got on the white horse-back, and led a full-frontal attack against the mighty British, all by herself, holding fort until the point that she could, and then creating alliances, organizing her brigade, to go at the Brits all over again. Her valour is a common, modern metaphor. You see a fearless woman, and inevitably go: "Aa gayi Jhansi ki Rani!"

Frankly, as a public figure from Bombay films, I can't imagine anybody as naturally earning that sobriquet as Kangana Ranaut. Dainty but fierce, Ranaut plays Rani Lakshmibai with the ferocity that suits her character best. She leads the charge not just as an actor, but also as director, the baton she took over midway through the making of this film. One can't help but conjecture if there are really two separate movies here, given that two directors were helming it at different times.

Well, there are two huge battle sequences in the picture. And one could argue that the second one, the climax, in its tone and shot-taking, looks considerably different from the first. But then, that could just be me as audience noticing, because consciously searching. Either way, there is nothing to hugely fault this film on technical competence, and indeed the scale at which it's been mounted.

Watch Manikarnika: The Queen Of Jhansi Trailer

The sets are grand. Extras, both Brits and desis, fill up the screen. War scenes look reasonably authentic. Mortal combats appear real. Riding through the artillery lined-up on either end is Manikarnika with her sword, the ultimate symbol of female power, from around the time that feminism as a word had only but been coined (in the West). It is an aspect that's thankfully quite dialed -down here. You can see it. You don't need to be incessantly told.

We've all read about Rani Lakshmibai in middle-school history. But we remember her best from the Allahabadi poet Subhadra Kumari Chauhan's long poem with the famous descriptor, 'Bundele har bole ki muh, humne suni kahani thi. Khoob ladi mardani, who toh Jhansi wali Rani thi.' A genuine, soul-stirring tribute to her phenomenal heroism can at best hope to come close to Chauhan's immortal lines. Yes, this one does.

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'He took a lot of crap from a person who feels she knows how to direct a film.'