Too much beauty is lethal – as a weapon and to the life of the one who possesses it or claims any right to it.
I wish I could meet Karni uncle and ask him if he saw the same Padmaavat as I did. If anything this movie serves an epic glorification of the Rajputs. They are the heroes of this saga from every angle you look at it unless you are hanging upside down with your brains hanging out your ears. Rajputs are portrayed as courageous, kind, cultured, intelligent, hospitable, respectful and soaked in a pool full of integrity. Even the Queen showing her reflection to Khilji is done to save Mewar, not to bring dishonor to it. Karni uncle, problem kaai hea?
The three hours I was practically absorbed by the movie (almost literally – I had the center seat in the very first row) I kept wondering what happened to Khilji raaj’s descendants? Shouldn’t they be the ones rioting for the animalistic portrayal of their King? I am not a historian but was Alauddin Khilji really as bestial?
Why didn’t Sanjay Leela Bhansali just call this movie Alauddin to begin with? He was the one driving the story and eliciting all sorts of reactions from the Rajputs. So what if he was the antagonist? Had the crew thought of the proposed name change all that hoola hoop could have been prevented. But who am I to know if it was intentional or not?
Bhansali is known to create magic of epic proportions on screen and Padmaavat is no different. From Deepika’s no-make-up make up look, to Shahid’s tanned skin and toned abs, from Ranveer’s black aura to his barbarism, from the grandeur of the palaces to the dust of Rajasthan’s vast expanse, from the glitterati of Rajput and Mughul jewels to the brushed cottons and gotas of the Rajputs’ outfits. Awe inspiring in every fold and frame! Bhansali, aisi cinematograpy pe 100 thappad kurbaan!
No one but Ranveer Singh could have done justice to Alauddin’s character. His off screen craziness served him very well in Alauddin’s boots. We all know Shahid is a great actor but who knew his petit frame could fit the grandeur of a Rajput King too? Deepika, a bit too solemn on her expressions, is graceful as ever.
The authenticity of the actual story aside this movie is a complete advertising package for the Rajputs. Even something as cruel as Jauhar is made to look morally superior and outright glamorous. The dialogues are dripping of Rajput pride and a Rajput Queen is given an equal pedestal as a Rajput King.
Whether a woman fights for a man, with a man or against a man, her fierceness rooted in reason is the most attractive trait she can possess. Padmavati’s beauty got her in trouble, her brains crowned her with victory and Khilji’s madness led everyone to a ruinous end. Sound familiar? Oops, sorry men.
The climax visuals were absolutely grand: A sepia castle going under in a soft yet ravenous fire, a sea of women in red and amidst all that a lion-maned Deepika slipping out of a blackened Khilji’s heinous sight. How can you make destruction look so stunning? Leave it to SLB. (9/10)