He becomes Bhishma fighting a valiant, powerful but ultimately not-as-skilled Arjuna in Khilji (what a SPECTACULAR role reversal), with Kafur standing in for Shikhandi who shoots a sheath of arrows at his back. Brangan rightly talks about all this within context of the movie. By the way, since someone mentioned Game of Thrones: I’d defend Bhansali’s vision in one regard and that is that he decides to not depict the Jauhar too realistically. This is one view of him. ( Log Out /  . She says the climactic jauhar has been carefully orchestrated and glorified; totally out of depth in these #MeToo times. To me the stories of Spielberg and Bhansali have an uncanny similarity but their styles as a film makers come as just diametrically opposite to me while dealing with sensitive issues. So during the Mughal—Maratha clashes in the late 17th Century, time and again, Maratha commanders of certain hill forts would play the saam–daam–dhand–bhed game with consummate skill. Sahir, Alauddin waged war for Padmavati only and he would not have settled for anything less at that point of time. I would love to see this film you mention, it is exactly the kind of creative interpretation one might hope for period films of the hindi film industry. Remember that a lot of the audience making noise about jauhar today is fed on a diet of game of thrones and what not which show dramatized violence and gore which appropriately reflect the period and the times the show is set in. Clearly this ending wouldn’t have the impact Bhansali was going for and I wouldn’t be surprised if Bhansali chose to rewrite the Jauhar sequence simply for the visual presentation – it was spectacular. War sometimes give rise to unusual strategies that can’t be judged with a civilian framework. Surely this kind of depiction is not possible in our mainstream movies, but there could be ways to show what war and post war realities were like in those days. Why expect the filmmaker to interpret/retro fit past historical acts into the present context for us? I loved the movie. She’s the only one who makes sensible decisions, she’s the only one who sees that their battle of pride will not help solve anything, yet in the end she accepts a deeply unsettling custom as a last resort, that includes the death of pregnant women and girls – with a smile. I do not think the men do or the women do. Patriarchy does not mean imposed by men at the time the custom is carried out – it means a society bound by rules led down by men who view everything from the prism of being a man, for e.g. Who in their right minds will like to watch women burning? This story has been written from a self-evident ideological lens, one that reinforces regressive thought systems. He joins Allauddin Khliji who has taken the Mogul empire after killing his uncle. 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. This another contemporary trend I have an issue with, the idea that tradition or legends are immovable, absolute and any ‘change’ is an affront, or a threat. @ Rahul: Let’s agree to disagree. They don’t understand such movies are about survivors and their feelings, first and foremost. As we settle down to watch Alauddin Khilji’s story, we drift to important occurances in Padmavati’s life. What is not fair is banning a film because it offends sentiments of some or other constituency. And just read Amir Khusru for depiction of life then of Khilji. Suicide bombers are recruited as soldiers in a holy war, they are glorified as martyrs by those fighting that holy war no matter what observers may think of the strategy. inspite of my efforts not to think logically, the moment everybody in Singhal country talked in chaste Hindi, I could not ‘not think’, particulaly having read most of the comments on the multple BR thread on this. Their culture did not necessarily endorse dying for a transitory political cause”. But maybe his hands were tied there, maybe he had to, maybe I would have liked an alternate ending. Devasena was a warrior. The survivors and only the survivors need to find their voice, their pain through the artwork and feel it has been heard and brought out sensitively. If I understand correctly, the real Khilji did NOT attack Chittor just to capture Padmavati; it happened to be yet another of his brutal military exploits. Well, a compassionate queen would have thought of others’ pain doing jauhar. At the end of the three-hour experience, Padmavati felt fascinating and susceptible of improvement at once. He conveyed his guilt over not sharing the spoils of Devgiri with the Sultan and said he would duly hand over the same upon the Sultan personally visiting him at Kara. It would have been far more satisfactory and would have served as far better motivation if he had been allowed to see how exquisite she is. The poem was written over 200 years after the events it purports to describe occurred. Don’t we know by now Indians don’t see anything in historical context. gnanaozhi: Sanjana, once he got Padmavati, he wouldn’t have cared who got whom. Aditi Rao Hydari’s role is another example: They could have done so much with her. Why, did Sufi saints have nothing better to do than create mythical Hindu women characters? I have checked a couple or more accounts (apart from the wiki article) and they are all consistent about this. Also, the ‘distortion of history’ charge – please absolve him of that: He was NOT making a historical; he was retelling a legend, and the legend of Padmini (if you remember your Amar Chitra Katha) was about Khilji’s obsession with the beautiful queen, and her ultimate sacrifice that defeated his intentions. Incidentally, most of my Muslim friends didn’t have any issue with the portrayal – perhaps because they are academics, and perhaps because it was a Bhansali film. You even see that in Khiljis victims and that is where I think the film could have been cooler: Instead of making those scenes all about the villain, give those women some character and show that life is not over under him, that they can fight back. And anyone who was not weeping at that last scene is the kind of person who would consider it glorification. How would it have been to see Khilji as a decent sultan (we can dismiss the killing of his predecessor as it might have been normal for those fellows in those times) and his hearing of Padmavati’s beauty inciting the storyline and giving him his motive. Who will care if the sensitivity of a race whose women killed themselves regularly to protect their honor be lost in that process to the future generation? Trying to blow your nose in those arid climes is sure to make you wanna cry but you dare not because sobbing with those thingamabobs would have been excruciating too! Different ways of dealing with war and invasion, right? She talks about jauhar and frames it in terms of “defeat” – she says this will be Alauddin’s “sabse badi haar.” It sounds less like something a helpless woman would do than another military strategy – her final one. Meena didn’t speak much about the act itself, though she was so furious about it, and wrote against it for the Times then. @Anuja: I’ve been told to go and jump into a fire for enjoying the movie, so your comment is among the harmless ones TBH. If only the rest of the movie was made this way then we would have been able to buy Jauhar as an act of victory for Padmavati. But as Alauddin escapes and comes charging for Padmavati, there is no option left in the matter. Happiest feeling: Sathyam Cinema’s parking charge is just too pocket-friendly. There is a Jauhar but it isn’t led by Padmavati. To him Rajput/Khilji enemity was just the paint he used to paint his painting. So as expressed by SLB, beauty was either in the eyes of the beholder, or a function of her ‘independent spirit’ showing through her actions, rather than just physicality.

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