Cast: Ranveer Singh, Deepika Padukone, Shahid Kapoor, Aditi Rao Hydari, Raza Murad, Jim Sarbh, Anupriya Goenka
Director: Sanjay Leela Bhansali
Music: Sanchit Balhara, Sanjay Leela Bhansali
Screenplay: Prakash Kapadia, Sanjay Leela Bhansali
Dialogue: Prakash Kapadia
Costume Design: Ajay, Maxima Basu, Harpreet Rimple, Chandrakant Sonawane
Duration: 164 minutes
Introduction:
‘Padmavat’ is an epic poem by Sufi poet Malik Muhammad Jayasi which surfaced around mid 16th century and centred around early 14th century tale of Sultan Alauddin Khilji, Maharawal Ratan Singh and his second wife Padmavati.
‘Padmaavat’ is the current age cinematic adaptation of the aforesaid poem by Bollywood director Sanjay Leela Bhansali, made with a lot of opulence and clear disclaimer that its scenes may or may not depict the actual history.
The Plot:
In the movie, the quest for beads to please his first wife Nagmati (Anupriya Goenka) leads the ruler of Mewar, Maharawal Ratan Singh (Shahid Kapoor), to the kingdom of Singhal, wherein in the forest, he gets struck by their pricess Padmavati’s (Deepika Padukone) arrow and both of them get struck by the cupid’s arrow, which results into Padmavati’s arrival into Chittor’s fort as the second wife of Ratan Singh.
Padmavati happens to be a lady of great beauty, intellect and courage. She is also well versed with warfare tactics. Allured by her charisma, the king’s Guru and advisor commits the grave mistake of peeping into one of her private moments with the king, gets caught and is exiled from the kingdom.
Alauddin Khilji (Ranveer Singh) is the all powerful, vile, greedy, oversexed, ruthless and nasty Sultan of Delhi, who has acquired his throne by murdering Jalaluddin Khilji (Raza Murad), who was his predecessor, uncle and father-in-law! He is married to Jalaluddin’s alluring and naive daughter Mehrunissa (Aditi Rao Hydari). He is constantly shadowed by equally mean and ruthless Malik Kafur, who is his slave cum confidant cum toy boy. Alauddin Khilji lives with the belief that anything exquisite and/or precious simply belongs to him.
Playing on this characteristic of Alauddin, the revengeful and exiled Guru manages to get his attention by murmuring verses of Padmavati’s exquisite beauty in his ears. Eventually, the Sultan plans to seize the Chittor fort and obtain Padmavati. Thus, he marches with a big army to the fringes of the aforesaid fort.
But the fort is extremely well built with strong and high walls and long passages. It is impossible to break into it.
Over a period of many months, one thing leads to another. Seasons change and festivals come and go. Cases of betrayal, bravery and loss of human lives happen on both the sides. Finally, with both of their armies facing each other, a dual match happens between Ratan Singh and Alauddin Khilji. Both happen to be a strong opponent to each other. Only when Ratan Singh is about to win the fight, Malik Kafur breaks the protocol of honour and assassinates him by striking him with multiple arrows, which gives way to a mega fight between both the armies.
The fatal news reaches the Chittor fort and like a the then true Rajput woman, Rani Padmavati decides to burn herself in the holy pyre, rather than falling into the hands of her husband’s murderer. Led by Padmavati, a big Jauhar (self-immolation) is performed by a big group of ladies, even the pregnant ones!
Inches away from his actual victory, the Sultan is left shocked, jaded and dumbfounded at this mega display of Rajput loyalty and sacrifice.
About The Movie:
The movie is a typical display of director Sanjay Leela Bhansali styled showmanship. Enough r&d and adaptations have been done to design the sets and costumes pertaining to the late 13th and early 14th century’s royal courts, apparels and lifestyles of - Khiljis in modern day Afghanistan and Delhi (India), Rajputs in Mewar (Rajasthan,India) and Singhal in modern day Sri Lanka. Both opulence and minute detailing in the afore mentioned efforts are quite impressive.
As a text book chapter in school or via folklores by mouth, most of us have come across the tale of Padmavati’s Jauhar. Resultantly, without judging the act of Jauhar as right or wrong, there is this curiosity of viewing the cinematic adaptation of the same.
Hued in multi shades and designs of red traditional ghagra-choli, coupled with a strong display of the firm resolve of Rajput women along with the showcase of their united attempt to stop Alauddin from reaching Padmavati, their beloved queen, the build up of the Jauhar scene is quite powerful, but a tad bit too long. Also, the actual burning of the Jauhar performing women is left to the audience’s imagination. Perhaps the makers of the movie did not want to glorify an act which will not be considered righteous in present India.
Some scenes in the movie seem unnecessary, while some bear a strong resemblance to the famous scenes of earlier Bollywood hits. Like - Shahid and Deepika holding the big chandelier or jhoomar with its sturdy rope, like Salman and Aishwarya in ‘Hum Dil De Chuke Sanam’, or, the angry women of Chittor fort holding in twosomes a big piece of cloth from both sides, filled with hot chunks of coal and throwing them off on the villainous Sultan, one after the other, like the oppressed women of the spice factory in ‘Mirch Masala’, wherein, they threw red chilli powder.
However, some scenes in the movie are quite impactful. Like – Alauddin coming out with the Mongolian war head’s head on a staff, from the sandstorm caused by the quick gallop of Mongolian army’s fighting horses, or, comical display of his insecurity while dining for the first time with Ratan Singh at Chittor fort, wherein he switches their food plates thrice!
The movie has a total of six songs, out of which ‘Ghoomar’ is most effective, both audibly and visually. Background score and cinematography are good. Some of the dialogues mouthed by
Ranveer and Shahid are clap worthy.
I saw the 3D version of the movie, which seemed a mistake. The human characters looked too lean and at places they resembled like cardboard cut outs. Also, the 3D glasses resulted in a thin black veil in front of the eyes and everything on the celluloid appeared a shade darker.
It’s better to watch the 2D version of the movie, to fully enjoy the Rajasthan centric riot of colours and workmanship, that is on display in most of the scenes.
About The Crew:
Ranveer Singh has played Alauddin with a lot of homework and impact. He has successfully looked and acted the part. His penetrating and ruthless eye gaze from kohl lined eyes will stay in your memory for a considerable period. Still, he did not appear as villainous as Mogambo (Mr. India) or Shakal (Shaan), the other two iconic villains of the Indian screen. His voice modulation is not same throughout the movie. The imposed semi baritone that he has worked upon is effective, but is missing in few scenes.
Deepika Padukone sways through the movie like a dream. Clad in assorted Rajasthani ghagra-cholis, mouthing the wise dialogues where necessary, or simply expressing through teary and fiery eyes, she mostly looks like an extension of her Mastani character from Bajirao Mastani, but lights up the screen all the same.
Shahid Kapoor is well chiselled and displays good baritone in a couple of scenes. But in the same frame as Deepika or Ranveer, he looks kind of short and small. Though he is a good actor, but he has not well suited the role of Ratan Singh. Also, there is no chemistry between him and Deepika. Perhaps, Ranbir Kapoor would have better suited this role.
Aditi Rao Hydari looks luminous and plays a submissive wife. However, her star quotient is considerably less than the aforementioned three actors.
Jim Sarbh is the surprise package of the movie. Not much was ever heard about Malik Kafur in folklores, nor publicised before the movie release. But, Jim has quite well played the complex character of a ruthless and cunning slave cum toy boy who also loved his Sultan.
Rest of the cast is also good.
Conclusion:
The movie is a celebration of Rajput valour, honour and loyalty. You can surely watch it for once. But, it’s not a cult movie.
To end on a lighter note, a message to all the married women i.e. if your husband ever looses or gifts away his precious ‘motiyon ki mala’ or necklace of beads, you dare not ask him to cross the seven seas to obtain another set of similar beads! God only knows what it will ultimately lead to! (Chuckle)
Director: Sanjay Leela Bhansali
Music: Sanchit Balhara, Sanjay Leela Bhansali
Screenplay: Prakash Kapadia, Sanjay Leela Bhansali
Dialogue: Prakash Kapadia
Costume Design: Ajay, Maxima Basu, Harpreet Rimple, Chandrakant Sonawane
Duration: 164 minutes
Introduction:
‘Padmavat’ is an epic poem by Sufi poet Malik Muhammad Jayasi which surfaced around mid 16th century and centred around early 14th century tale of Sultan Alauddin Khilji, Maharawal Ratan Singh and his second wife Padmavati.
‘Padmaavat’ is the current age cinematic adaptation of the aforesaid poem by Bollywood director Sanjay Leela Bhansali, made with a lot of opulence and clear disclaimer that its scenes may or may not depict the actual history.
The Plot:
In the movie, the quest for beads to please his first wife Nagmati (Anupriya Goenka) leads the ruler of Mewar, Maharawal Ratan Singh (Shahid Kapoor), to the kingdom of Singhal, wherein in the forest, he gets struck by their pricess Padmavati’s (Deepika Padukone) arrow and both of them get struck by the cupid’s arrow, which results into Padmavati’s arrival into Chittor’s fort as the second wife of Ratan Singh.
Padmavati happens to be a lady of great beauty, intellect and courage. She is also well versed with warfare tactics. Allured by her charisma, the king’s Guru and advisor commits the grave mistake of peeping into one of her private moments with the king, gets caught and is exiled from the kingdom.
Alauddin Khilji (Ranveer Singh) is the all powerful, vile, greedy, oversexed, ruthless and nasty Sultan of Delhi, who has acquired his throne by murdering Jalaluddin Khilji (Raza Murad), who was his predecessor, uncle and father-in-law! He is married to Jalaluddin’s alluring and naive daughter Mehrunissa (Aditi Rao Hydari). He is constantly shadowed by equally mean and ruthless Malik Kafur, who is his slave cum confidant cum toy boy. Alauddin Khilji lives with the belief that anything exquisite and/or precious simply belongs to him.
Playing on this characteristic of Alauddin, the revengeful and exiled Guru manages to get his attention by murmuring verses of Padmavati’s exquisite beauty in his ears. Eventually, the Sultan plans to seize the Chittor fort and obtain Padmavati. Thus, he marches with a big army to the fringes of the aforesaid fort.
But the fort is extremely well built with strong and high walls and long passages. It is impossible to break into it.
Over a period of many months, one thing leads to another. Seasons change and festivals come and go. Cases of betrayal, bravery and loss of human lives happen on both the sides. Finally, with both of their armies facing each other, a dual match happens between Ratan Singh and Alauddin Khilji. Both happen to be a strong opponent to each other. Only when Ratan Singh is about to win the fight, Malik Kafur breaks the protocol of honour and assassinates him by striking him with multiple arrows, which gives way to a mega fight between both the armies.
The fatal news reaches the Chittor fort and like a the then true Rajput woman, Rani Padmavati decides to burn herself in the holy pyre, rather than falling into the hands of her husband’s murderer. Led by Padmavati, a big Jauhar (self-immolation) is performed by a big group of ladies, even the pregnant ones!
Inches away from his actual victory, the Sultan is left shocked, jaded and dumbfounded at this mega display of Rajput loyalty and sacrifice.
About The Movie:
The movie is a typical display of director Sanjay Leela Bhansali styled showmanship. Enough r&d and adaptations have been done to design the sets and costumes pertaining to the late 13th and early 14th century’s royal courts, apparels and lifestyles of - Khiljis in modern day Afghanistan and Delhi (India), Rajputs in Mewar (Rajasthan,India) and Singhal in modern day Sri Lanka. Both opulence and minute detailing in the afore mentioned efforts are quite impressive.
As a text book chapter in school or via folklores by mouth, most of us have come across the tale of Padmavati’s Jauhar. Resultantly, without judging the act of Jauhar as right or wrong, there is this curiosity of viewing the cinematic adaptation of the same.
Hued in multi shades and designs of red traditional ghagra-choli, coupled with a strong display of the firm resolve of Rajput women along with the showcase of their united attempt to stop Alauddin from reaching Padmavati, their beloved queen, the build up of the Jauhar scene is quite powerful, but a tad bit too long. Also, the actual burning of the Jauhar performing women is left to the audience’s imagination. Perhaps the makers of the movie did not want to glorify an act which will not be considered righteous in present India.
Some scenes in the movie seem unnecessary, while some bear a strong resemblance to the famous scenes of earlier Bollywood hits. Like - Shahid and Deepika holding the big chandelier or jhoomar with its sturdy rope, like Salman and Aishwarya in ‘Hum Dil De Chuke Sanam’, or, the angry women of Chittor fort holding in twosomes a big piece of cloth from both sides, filled with hot chunks of coal and throwing them off on the villainous Sultan, one after the other, like the oppressed women of the spice factory in ‘Mirch Masala’, wherein, they threw red chilli powder.
However, some scenes in the movie are quite impactful. Like – Alauddin coming out with the Mongolian war head’s head on a staff, from the sandstorm caused by the quick gallop of Mongolian army’s fighting horses, or, comical display of his insecurity while dining for the first time with Ratan Singh at Chittor fort, wherein he switches their food plates thrice!
The movie has a total of six songs, out of which ‘Ghoomar’ is most effective, both audibly and visually. Background score and cinematography are good. Some of the dialogues mouthed by
Ranveer and Shahid are clap worthy.
I saw the 3D version of the movie, which seemed a mistake. The human characters looked too lean and at places they resembled like cardboard cut outs. Also, the 3D glasses resulted in a thin black veil in front of the eyes and everything on the celluloid appeared a shade darker.
It’s better to watch the 2D version of the movie, to fully enjoy the Rajasthan centric riot of colours and workmanship, that is on display in most of the scenes.
About The Crew:
Ranveer Singh has played Alauddin with a lot of homework and impact. He has successfully looked and acted the part. His penetrating and ruthless eye gaze from kohl lined eyes will stay in your memory for a considerable period. Still, he did not appear as villainous as Mogambo (Mr. India) or Shakal (Shaan), the other two iconic villains of the Indian screen. His voice modulation is not same throughout the movie. The imposed semi baritone that he has worked upon is effective, but is missing in few scenes.
Deepika Padukone sways through the movie like a dream. Clad in assorted Rajasthani ghagra-cholis, mouthing the wise dialogues where necessary, or simply expressing through teary and fiery eyes, she mostly looks like an extension of her Mastani character from Bajirao Mastani, but lights up the screen all the same.
Shahid Kapoor is well chiselled and displays good baritone in a couple of scenes. But in the same frame as Deepika or Ranveer, he looks kind of short and small. Though he is a good actor, but he has not well suited the role of Ratan Singh. Also, there is no chemistry between him and Deepika. Perhaps, Ranbir Kapoor would have better suited this role.
Aditi Rao Hydari looks luminous and plays a submissive wife. However, her star quotient is considerably less than the aforementioned three actors.
Jim Sarbh is the surprise package of the movie. Not much was ever heard about Malik Kafur in folklores, nor publicised before the movie release. But, Jim has quite well played the complex character of a ruthless and cunning slave cum toy boy who also loved his Sultan.
Rest of the cast is also good.
Conclusion:
The movie is a celebration of Rajput valour, honour and loyalty. You can surely watch it for once. But, it’s not a cult movie.
To end on a lighter note, a message to all the married women i.e. if your husband ever looses or gifts away his precious ‘motiyon ki mala’ or necklace of beads, you dare not ask him to cross the seven seas to obtain another set of similar beads! God only knows what it will ultimately lead to! (Chuckle)
