Padmaavat: A Tale as Old as Time

Having recently seen Padmaavat in a theatre (in Karachi which was completely housefull even though the film has entered its second week) I came out with several thoughts which continue to haunt me till this time. Hence, after a long time I decided to give my two cents on this SLB masterpiece  (or so it's being referred to) despite having been out of touch with writing film reviews for quite some time. So if there is anyone reading this (family, friends etc.) be forewarned. There might be spoilers but since the film has released quite a while back and media has already covered it so much with regards to the Karni Sena oppositions I doubt I would end up giving away any major plot points that haven't already been uncovered. 

So by this time everyone knows what the story contains but this is a rough gist: A rogue Muslim emperor goes to war in quest to acquire a mythical Hindu Rajput queen whose beauty and intellect is unheard of and this leads to major tragedies for everyone involved.

Now I am definitely not someone who can even aspire to judge the meticulous and grand preparations alongside extensive homework that must have gone through when this production was being made. The images are awe-strikingly well crafted, music is elaborate and classic Bhansali and all the major actors have probably delivered one of their career best performances if not the best. However what I can and do want to judge is the way in which Bhansali has handled character arcs. Is this really possible Sir, that every single Muslim within the film is a vile, vicious and manipulative creature (except probably Khilji's wife who again was possibly thinking of personal goals)? Are Hindus and particularly Rajput Hindus completely devoid of being wrong, feeling anger, or betraying their weaknesses (obviously barring the token villain)? Was life in the 13th century this cardboard like? I doubt it was and yes we are watching a film so there are liberties that a director can and must take for entertainment value but this brings me to the very gruesome finale.

Why Sir WHY? Living in the 21st century a director must know what impact his or her vision can have on the mindsets of their audience. So when you show a situation where hundreds of women dressed in red clothes and regal jewelry lining up to light themselves on fire just to protect their so-called "honour" from a rogue nation and it's plunderers and paint it all in such a musically exhausting manner you end up clearly portraying that such acts were not only needed but were also heroic and should be worshipped. I realise there were such cases in reality long time back (maybe Padmavati was or wasn't real as history remains uncertain) but even today we hear of such odd incidents being practised in rural India so clearly there is a need to show what may or may not have happened.

My main argument is why glorify such heinous practices and customs especially when we are living in countries like India and Pakistan that are already facing issues of sexual abuse, rape, murders and other violent crimes being committed and reported on almost a daily basis. In my humble opinion the act of "jauhar" could and should have been presented as a necessity and not as a final decision to vanquish the evil emperor. Because as it stands today, who knows maybe someone sitting somewhere in India or Pakistan  (or anywhere else for that matter) would feel encouraged regarding the fact that women (read anyone in a weaker position of power) are so afraid to lose their honour that they can even be forced to kill themselves. So why not use them to do even more heinous acts of violence, try to possess them, intimidate them etc.....  

Don't get me wrong. I liked the film. It's well made, superbly (is that even a word?) acted and gorgeously shot. The characters could have been well rounded instead of being one dimensional but still all of them leave a mark. However the end makes me think what could have been done to maybe give it a better send-off. Perhaps the disclaimer of "sati" should have been presented again post the climax in addition to the beginning. I'm still not sure. I wish Sajay Leela Bhansali makes many such epics and we continue to be enthralled by the vision of it all but maybe next time Sir do more homework on the actual storytelling and less on the art direction????

PS: Swara Bhaskar (a famous Indian actress) has also made certain similar points and although I don't agree with the words she has used the gist is quite well put so you might want to check that out if you haven't already.