With a maniac, life will not change just because he got her.
The Bollywood film industry has not touched sensitive themes in a way like their counterparts in other parts of the world have done. Mind you it was not just lives, but as James Todd in his “Annals and Antiquities of Rajasthan” notes destruction of property in this Jauhar was also a key factor. Further, Padmavati’s choice was hers to make but as Sanjana points out the Jauhar isn’t limited to her alone. Gatecrasher? I do not think this jauhar has anything to do with Patriarchial. Look forward to more conversations along these lines soon. They don’t bring a closure. The one person who is slightly sensitive to the anti-Muslim bias told me simply, ‘They are not us.’ Which, again, is true. a Princess of Sinhala (modern-day Sri Lanka) called Padmavati falls in love with an already married … Our land has gone through many atrocities and the memory of those events remains suppressed but alive. Worse, Alauddin is back with “dugni sena,” twice the army. Why not give it a try and then judge for yourself, how you felt after watching that scene? Problems in writing arises because the portrayal itself is not convincing enough. I do really hope we don’t see some kind of hysterical repeat of the RoopKanwar episode. Why not in the name of artistic freedom or in the name of free speech, some might say. And I see that. The interpretation that love is beyond lust also came through very clearly for me in the movie, a principle from an older world order, which most of us now either shun, or seem to have forgotten. (Disclaimer: I don’t agree with all of them and I don’t want to ban any films or whatever, I just wanna talk.) As he is showing Jauhar to be a choice, it is not just the critics of the movie but it is Bhansali himself who has retrofitted this movie according to modern sensibilities! I’m a huge fan of your reviews, and I totally agree with your ‘new critical’ approach to Padmavat. When the concept of a woman’s honour being the ‘honour of the family’ is force-fed to you as fact from the time of your birth, then we, as women internalise those teachings. I loved the touch that we meet Ratan Singh as his front is pierced by an arrow. I’ll grant that chauvinism was big back in those times, but for those pointing out that SLB is staying true to that era allow me to disagree. You would show a voice of a people whose descendants then would have faith in you because someone is respecting their memory. )- again despite Draupadi’s warning.
Of course, if they were going to show ‘Khiji’, then they could also show how he codified the administration, instituted a disciplined rule of law, etc. I don’t know if SLB was glorifying Jouhar or not. There is nothing better than when SLB does this. as an SLB movie, it was colorful and grand.
Padmavati was marooned on the island of Lacchmi, the daughter of the Ocean God. Our own beauty queen got a black eye from some big star. In the 13th Century, Allauddin Khilji gifts a full Ostrich in place of a feather to his uncle Jalaluddin Khilji and asks permission to marry his daughter Mehrunissa.While in Sinhala Rani Padmavati attacks Maharawal Ratan Singh mistaken to be a Deer.
The irony is that while one researched it by going in the hearts of people, studied in depth to make it a story depicting human condition, the other is how a mass tragedy is converted into a mindless entertainment and turned into an insensitive drawl. All along, we could just be Malik Kafur (the dedicated eunuch and confidante of the sultan) or some other fellow traveler in Khilji’s journey as he fights forces in him and others to set eyes on a promised beauty. On another note, the audience needed to see why jauhar was a better option than being captured by khilji s army. For all the lists made and arguments for and against the last scene, I only know how I felt watching it, a sense of horror that no horror film had ever evoked in me, and subsequently a sense of rage, not at Khilji ironically, but at the director and the gut wrenching irresponsibility with which the scene had been dealt with. As much as I like Game of Thrones and the women there coming out surprisingly strong, their suffering has been sensationalised in the first couple of seasons to a point where I was just shrugging when I saw another rape scene (it has become a lot better though). In my eyes, SLB is dangerously oblivious of the times, art may be made in isolation, but good art always synthesises conflicts and contradictions, and is painfully aware of society. I did not read your rebuttal to “gnanaozhi” (I searched with that name though before writing). This was one scene that felt like the battle was between Khilji and Padmavati, the scene says that this is not a battle for land and territory and instead “you want something from me, I am going to make sure that you are not going to get it”. And methinks that small smile wasn’t unwarranted. To SLB this is classic Indian mythical puppet/nautanki/streetplay/ramleela storytelling and as an audience I revel in it. I only hope that these changes takes us ahead, not backward in thought. Instead we were shown the death of good king and his queen which left the story half told. Legends and myths are black and white. Or take the description by Cooper on the essential difference in pragmatism between the martial communities of Rajputs and the Marathas. Iam upto my eye teeth with Padmavati now. Naina, while I get where you’re coming from, and indeed can empathise with that feeling, let’s say that, where SLB is concerned, there really is no ‘ideology’ behind his film-making, at least not a political one. Bhansali has been living with Padmavati for the last twenty years. The first was the mirror in which he said Allaudin Khilji saw Rani Padmini, the second where the women of Chittor committed Jouhar and the third where Allaudin Khilji rested for three days in Rani Padmini’s palace before going back. I wept and wept at the horrible choice she had to make, and yes I understood her tiny “smile” for all Khilji got was a pyrrhic victory. (Like how Alauddin becomes such a softie, sentencing his traitorous wife to prison instead of chopping her head off.) Summaries. Post was not sent - check your email addresses! There were no hiding spaces for those who became the center of it unlike now. It wasn’t her beauty or Khilji’s greed and rapaciousness that led to the horrible end but his idiotic, self-righteous notion of honour. ( Log Out / It is something the directors of Bollywood have yet to understand it seems whose vision of everything is entertainment first and is typified by dancing in front of the camera. @Radhika, I read that link with interest; thank you. And yes, I believe film-makers have a immense responsibility, more so than the broader definition of artists owing to the overtly public nature of films, and ever more so as film-makers in India. In that sense, the movie, just like the idea of Jauhar, do not belong to this day and age. I know this is the past, but a heroine like that, restricted by customs and not very angry about them, embracing them in the end, is just disappointing. His kingdom and his people, including his queen or his ideals. Thank you for your reply, on the subject of myth, whether it is myth or fact may be irrelevant when speaking of the portrayal of regressive practices prevalent in the present, this is why Game of thrones’ repeated and unnecessary depiction of rape is also troubling to me.
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