Every Hindu child in India grows up listening to the heroic and self sacrificing tale of the ethereal beauty Chittore Rani Padmini (Padmaavathi). Of Alauddin Khilji’s avarice, cunning and barbarity. As for me, I had my granny tell me about Padmini a million/billion times perhaps when I was a little girl.
Wonder why the picture drew criticisms for positive portrayal of the historical event. The film also justifies why Sati was indeed practised in India for a few centuries. Notably, it was prevalent in border states of today’s India that were prone to mogul/arab/turk/afghan/mongol invasions.
A typical Sanjay Leela Bansali production, it must have been a grand watch in IMAX cinemas. I must be the last to review the film. Watching pictures at home comes with a cost: missing out scenes thanks to domestic chores. Despite disclaimer, Hindu India knows better. ‘Padmaavat’ also is the costliest celluloid picture to be made in Indian history to date. (Catching up with lost bits in Tamil version, it comes as no surprise that dubbed ones can never come like the originals).
Numbers may vary from 14,000 to 70,000 from account to account – but that many Rajput Hindu women were believed to have jumped into fire igniting themselves, committing mass suicide (Jauhar) (Sati) when Mewar was defeated by the Sultan of Delhi (sic) (cannot even come to terms with actual history that these savages once ran a reign of terror in my Punya Bhoomi Bharat), saving themselves from capture by islamists. The historic Sati was led by the queen Padmavat herself when Maharaja Ratan Singh was defeated in the sly in the battle by Malik Kafur. (Malik Kafur the slave himself was reportedly a bisexual as Khilji was, and was in relationship with Khilji).
If not for Padmavat and her fellow Rajput women (as well as other brave Hindu warrior kings like Chatrapathi Shivaji of the Maratha and Krishna Deva Raya of Vijayanagara Kingdom), India could be more islamic today and less Hindu in character. Who knows we could have been a sultanate. Hindu kings and warriors who fought by their own ‘dharmic’ traditions saved us from worst fates. Unfortunately and ironically, the native Hindu bravado is played down in Indian history text books and India’s invaders are portrayed the heroes. This is like viewing Hitler and Nazis as heroses and the victimized jews as oppressors. The price one pays for democracy and secularism. Irony is, in India today, if we talk about our traumatic past, we will be accused of hurting the sensitivities of our minorities (who were in all probability force-converted by our invaders at the point of sword).
The one last picturization of the Sati was good enough for me. Salute my Hindu ancestors for their selfless sacrifices and bravery. Hindu dharma forbids backstabbing. War ethics are a separate dharma by themselves. Aliens from Afghanistan unfortunately were less civilized, most brutal as India has witnessed in last 14 traumatic centuries. Hindus are staunch believers in Karma. Karma has been playing out in Af-Pak for decades now, can’t you see. Anything taken from the Hindu – will have to be paid back by tens of hundreds of thousand times with interest. For the simple reason, Hindus do not disturb others on their will.
Bow my head to the queen of Mewar and the bravest Rajputs who resisted surrender and conversion to Islam with their very lives, and defended the Sanatana Dharma until their last breath, owing to whom India today is still majority Hindu!
Dharma won over Adharm in Mewar, even if Khilji’s psychotic army ran over Chittor.
May be the exact sequence of history was not recorded (as it can never be with Period films) and there are naturally quite some artistic exaggerations here and there, but in spite of these superfluous flaws, the picture is extremely well made with attention paid to intricate details – from hand block designed costumes to period jewelry of Rajastan. Filming entirely limited to Rajastan forts. Outstanding cinematography. As I have never been to this part of the country, I have not much knowledge about India’s north west state. Deepika Padukone lived up to her character, doing justice to the role of Chittore Rani Padmini as Padmavat is widely referred to. Good and apt casting with Ranveer Singh playing the bloodcurdling Khilji and Pankaj Kapoor as the dharmic, valiant king of Chittor. Prior to the picture, I was not aware that Rani Padmaavat was Sinhalese. Speaks a lot about marital relations between India and the island nation Sri Lanka over centuries – starting with the times of Ram and Sita and Ravana?
Hurts when old wounds are reopened. MY HEART BLEEDS… Delhiites may be comfortable with forts and mausoleums, but coming from south, most of us like me cannot come to accept India’s turbulent past. Cannot come to terms with the Taj Mahal representing India. If you ask me, we must have Tanjore Brahadeshwara or Madurai Meenakshi or Hampi in Karnataka or the Kailasa temple in Ajanta or the Sun temple of Konark for India’s mascot in our tourism brochures or whatever. It is time to slowly ease out Taj from our conscience and replace it with a monument of our native pride and self-respect.
A symbol of bloody invasion and tyranny and genocide of my own fellow Hindus simply cannot represent my beloved Bharat. BIG NO TO TAJ !