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Matru ki Bijlee ka Mandola
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Matru ki Bijlee ka Mandola (2013) More at IMDbPro »

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Matru ki Bijlee ka Mandola -- In Haryana, India, Harry Mandola is a wealthy industrialist who loves his drink, his daughter Bijlee, and the unusual bond they both share with Harry’s man friday, Matru. Bijlee is all set to marry the son of a powerful politician, but the announcement brings twists and turns in the lives of Matru, Bijlee and Mandola.


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Vishal Bhardwaj (dialogue)
Vishal Bhardwaj (screenplay)
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Release Date:
10 January 2013 (Kuwait) See more »
Harry is an industrialist who loves his daughter Bijlee, and the bond they share with Harry's man friday, Matru. Bijlee's plan to wed the son of a politician, however, brings twists and turns in the lives of Matru, Bijlee and Mandola. | Add synopsis »
2 nominations See more »
User Reviews:
A genuine political farce, a Bollywood rarity! See more (43 total) »


  (in credits order)

Imran Khan ... Matru

Anushka Sharma ... Bijlee Mandola
Pankaj Kapur ... Harry Mandola
Lekha Washington ... Kamini
Arya Babbar ... Badal
rest of cast listed alphabetically:

Shabana Azmi ... Deviji
Sunil Chitkara ... Inspector
Eshna Chopra ... Bijlee's Friend number 6

Manav Kaushik ... Lala Bihari aka Masterji
Padam Mishra ... Villager
Pranay Narayan ... P A

Directed by
Vishal Bhardwaj 
Writing credits
(in alphabetical order)
Vishal Bhardwaj  dialogue
Vishal Bhardwaj  screenplay
Abhishek Chaubey  screenplay
Sabrina Dhawan  script consultant

Produced by
Ronak Bhagat .... line producer
Vishal Bhardwaj .... producer
Vikas Mehta .... associate producer
Original Music by
Vishal Bhardwaj 
Cinematography by
Kartik Vijay 
Film Editing by
A. Sreekar Prasad 
Casting by
Honey Trehan 
Production Design by
Subrata Chakraborty 
Punita Grover 
Amit Ray 
Costume Design by
Payal Saluja 
Makeup Department
Ayesha DeVitre .... hair stylist
Puneet Saini .... personal makeup artist: anushka sharma
Production Management
Eshna Chopra .... production manager
Second Unit Director or Assistant Director
Janvi Gill .... assistant director: Mumbai
Sanya Monga .... trainee assistant director
Rahil Patel .... first assistant director
Jitendra Rai .... third assistant director
Chandradeep Singh Rathore .... second assistant director
Honey Trehan .... associate director
Sound Department
Abhishek S. Bhattathiri .... dialogue editor
Abhishek S. Bhattathiri .... sound editor
Boloy Kumar Doloi .... associate sound re-recording mixer
Manoj M. Goswami .... sound
Santosh Gupta .... adr engineer
Rahul Karpe .... associate sound re-recording mixer
P.M. Satheesh .... sound designer
Visual Effects by
Swapnil Bagul .... matchmover
Tathagata Banerjee .... vfx production manager
Indranil Bhattacharya .... senior modeler
Devrishi Chatterjee .... digital compositor
Dipak Chetry .... digital compositor
Dibbyo Choudhary .... matchmove artist
Santosh Choudhary .... compositor
Vishal Darkunde .... matchmove artist: Prime Focus India Pvt Ltd
Ujwal W. Dhankute .... digital compositor
Manish Khatiwada .... digital compositor: Prime Focus
Abhijeet Lamture .... senior texture painter
Jayesh Makwana .... lighting and shading
Vishal Mehta .... texturing artist
Udit Mohan .... digital compositor
Atul Palande .... visual effects artist
Amey Panchal .... matchmove artist: prime focus
Piyush Pareek .... prep/paint artist
Rajiv Raghunathan .... digital intermediate production head
Priyank Raj .... visual effects producer
Vikash Sharma .... vfx: line producer
Avadhoot Tambe .... match move artist
Merzin Tavaria .... visual effects creative director
Yogendra Tonke .... cg lead
Govardhan Vigharan .... visual effects supervisor
Vikas Wadekar .... lead roto artist
Sunil Kumar Yadav .... roto lead
Sham Kaushal .... stunts
Camera and Electrical Department
Nutakki Anoop .... digital imaging technician
Hayath Basha .... digital imaging technician
Gautam Kumar Jayaseelan .... digital film designer
Kannadhasan .... digital imaging technician
Bagath Durvees Moorthy .... digital imaging technician
Archit Patel .... additional photography
Sudhakar .... digital imaging technician
Kapil Verma .... steadicam operator
Casting Department
Taran Bajaj .... casting associate
Chander Nath Mishra .... casting assistant
Padam Mishra .... casting assistant
Jitendra Rai .... casting associate
Costume and Wardrobe Department
Ankita Jha .... assistant costume designer
Sakshi Monga .... costume assistant
Editorial Department
Rohit Karkera .... digital intermediate conformist
Aalaap Majgavkar .... first assistant editor
Music Department
Clinton Cerejo .... music producer
Gulzar .... lyricist
Simaab Sen .... music producer
Other crew
Caesar Gonsalves .... choreographer
Saroj Khan .... choreographer
Bosco Martis .... choreographer
Aditya Nimbalkar .... assistant to director
Dinesh Shikari .... choreographer

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"M.K.B.K.M." - International (English title) (promotional abbreviation)
See more »
151 min
Aspect Ratio:
2.35 : 1 See more »

Did You Know?

Director Trademark: The song in the first trailer is sung by either Vishal Dadlani or Sukhvinder Singh.See more »
Revealing mistakes: The bath tub in which Bijlee is stuck when she is drunk has the faucets for water but no plumbing. It is clearly just sitting on its legs.See more »
chaudhary devi:Desh ki pragati ke liye tumhari pragati anivarya hai.See more »
Movie Connections:
References Sarkar Raj (2008)See more »


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11 out of 17 people found the following review useful.
A genuine political farce, a Bollywood rarity!, 12 January 2013
Author: amit agarwal from singapore

Now thats a crazy title if I ever heard one.And it does not make sense. Harry Mandola is a rich, hard drinking businessman played by Pankaj Kapoor(shades of Ponty Chaddha?), Bijlee is his vivacious daughter played by Anushkha Sharma and Matru(Imran Khan) is his servant/driver/man Friday/drinking buddy.That's the basic set up.As we get introduced to the dramatis personae the befuddlement grows.The film does not make any sense either, it looks like a silly vehicle trying to set up yet another improbable love story between the driver and the heiress, with a bit of Haryanvi rambunctiousness and cusses thrown in for good measure.

But no, the director is Vishal Bhardwaj, one of India's most talented filmmakers, who is not content to drape his heroines in chiffon saris and take them on a trip to the Swiss Alps.Instead he is a literary minded man and a music maker to boot.In Matru Ki Bijlee Ka Mandola( hereafter that sounds like the abbreviation of a rude phrase but we will let it rest there) he creates a big mess.But I swear on the soul of Arvind Kejriwal, its a beautiful mess.This film must have been scripted in 2011 when the country was swaying to the anarchic tunes of Anna Hazare who held the parliament and the country hostage with his nearly demagogic harangues against corruption. Mr Bhardwaj did not take the self righteous route of making a new version of Rang De Basanti,which to its credit, anticipated the need for a popular citizens movement much before Mr Hazare started frothing at the mouth.Instead he realised the absurdity of the drama unfolding at Jantar Mantar. This film is his conviction, which I share, that India is not ready for its moment in the revolution calendar, which has red letter days spread out far more pragmatically then our impatient news channels would like.

In the unremarkable set of the three title characters he throws in an ambitious politician Chaudhari Devi,who played by Shabana Azmi, modelled externally perhaps on the Mayawati's of the world but at heart our dear Italian Godmother, keeps the chair warm for her feckless son, Baadal (Arya Babbar).Dark clouds are indeed gathering over our country, when the prince ascends the throne. Chaudhari Devi is in bed with Mandola, he will develop a vast agricultural land which he will bamboozle the farmers into relinquishing and which the good minister will convert into a SEZ. Bijlee will become the Catharine of Braganza whose dowry must be a great piece of real estate like the city of Bombay itself.Only now the Haryana hinterland is more priceless property, in close proximity to a money power saturated Delhi, and this is where the film is set.

Matru leads a double life, he is a closet Maoist, and is inciting the farmers into a revolt against the brazen land grab.The old men of Haryana have become stereotyped as the guys who locate the cause for rape in chow mien but here they seem like pretty normal folks, with a sense of humour laced with language deeply but innocently misogynistic. Perhaps this is the worst chow mien does, make you mouth Mother/Sister obscenities. Mr Bhardwaj used this to great comic effect but that's not the whole point, as it was in that Bose DK film.

That Mao is the hero of the farmers is the point.History has made it amply clear that Chairman Mao was probably the most ruthless autocrat ever, it's his misty ideology that continues to fuel a million misguided mutinies thats really funny.A happy ending is achieved with great help from a shocking pink buffalo which first appears as a CGI creature that Mandola sees in his drunken stupor and then one which is hand painted to make Mandola's mann-go-dola( refer to the film Devadas, which has a song Mandola re dola re..) . Mandola has a split personality, when he is drunk he is a bit of a socialist, as all human beings are.Mr Bhardwaj would rather awaken simple goodness within us and especially in our parents, whose ambitions and pragmatism most of India's youth channelize today.If somehow parents actually encourage us to do the right thing a revolution can come to our country.

Mr Bhardwaj takes great risks and a lot of time to deliver this dark comedy with all the energy of a Shakespearean farce.He has used tragedies like Macbeth (which is revisited here in a wonderful scene) and Othello.Now he must turn to the master's comedies, not a particular text this time, but his entire comic oeuvre.MKBKM is a farce in the glorious Shakespearean sense and captures the zeitzast of modern India remarkably well.We yearn for change, we march to India gate for change, we sign petitions on Facebook for a nameless victim of the "rape of the century", but alas we cannot change ourselves.

As Harold Bloom, the foremost scholar on the Bard puts it,"Shakespeare will not make us better, and he will not make us worse, but he may teach us how to overhear ourselves when we talk to ourselves.. he may teach us how to accept change in ourselves as in others, and perhaps even the final form of change".

Take a bow Vishal Bhardwaj!!

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