However, complaining that a depiction of jauhar in a period film set in that time period was somehow “glorifying” the practice, is not (IMHO), a well conceived analysis. You cannot blame victim of war or rape. While we are supposed to loathe Khalji for his lecherous ways, Ratan’s feelings for Padma while on a quest for Nagmati is romanticized and the poor woman is portrayed as petty and jealous when she is less than thrilled (understandably so) at having been alienated from her husband’s affections. 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. Sanjana, once he got Padmavati, he wouldn’t have cared who got whom. We now know that some likely subscribed to the value of death with dignity, others were drugged and coerced into participation but I’m pretty sure it was always marketed as a military strategy that preserves honor in defeat.

Perhaps she has forgotten that feelings of humiliation existed in those days too, in a far more raw and savage form than it is today. Why expect the filmmaker to interpret/retro fit past historical acts into the present context for us? That is the rule every great art work and writer and director follows. Idea was, neither plunder nor slaves (money and valuable booty) nor property for pillage would be left to the enemy when he charged through the gates! It is reflective of your life, my life and is the universal human condition that governs the genocides, the fate that befell our people regularly from invasions and led to Jouhars. (Which raises the question: Why did she have to ask him “permission” for jauhar later? I’ve been collecting my thoughts about the previous post on Padmaavat – every time I see a comment, I want to reply, but the comments have been so quick in coming that just approving them is taking up all my time. When Ratan Singh is kidnapped, Padmavati smears mud on her mirrors. This is where the whole argument about how these were the customs of that time doesn’t hold up. Change ), You are commenting using your Google account. LOL. Thank you for your reply, on the subject of myth, whether it is myth or fact may be irrelevant when speaking of the portrayal of regressive practices prevalent in the present, this is why Game of thrones’ repeated and unnecessary depiction of rape is also troubling to me. As much as I like Game of Thrones and the women there coming out surprisingly strong, their suffering has been sensationalised in the first couple of seasons to a point where I was just shrugging when I saw another rape scene (it has become a lot better though). How can it be an imposition when every able man has ridden off to battle (and die).

While I understand your reasoning and I respect you as a critic immensely, the fact that Padmavati is presented as a warrior was even more annoying to me while watching the film.

Would the movie have been presented on a non-linear template from the climax point of view than just it’s theme tune reflecting on it. And I am also not getting how so many others have written that she made a choice that was terrible either way. It must have galled her mightily to have her rival calling the shots but she is shown as having redeemed herself only when she follows Padma’s lead into the flames. So yeah, I would assume these rumours would have reached the ears of the Rajputana. The longings and sufferings of those women while they immolated themselves in the fire or the Jews who were gassed in concentration camps remains a voice that hasn’t died.

Unless that nose belongs to the impudent VN who crashed rudely into the placid meandering of all those illustrious members of BR’s blog who had hitherto been content to justify their presence as marshals by perfecting themselves in the time honoured sport of splitting the hair. And then there is hope lighted for the raj guru’s own villainy narrative, but he reduces to being a unexplored instrument. Even the lipstick is not an inviting hue of red, but a toned down brown in most cases.

She says cinema occupies its own universe. In that board i was just defending a principle of engaging with any art/heroes/icons etc. Like I’ve said before, when that climactic sequence rolled, I saw the horror inherent in that fate. We can interpret and reflect on our own, no? sanjana: So I am also admitting that the film followed the poem’s flow. And the silliness of parts of the story – did no one guess that Padmavati’s retinue was filled with men, not women?

After saving Ratan Singh, Padmavati isn’t happy. For an advanced nation like Malaysia to pander to Muslims and ban Padmavat is just as bad as Karni Sena calling for the film to be banned here and we should at least credit the SC for not bowing down to their wishes and upholding free speech. Whether the men are there, or not. And as Cinema demands, there is a mandatory need for tension in the sequence: in her decision and its acceptance; in Alauddin Khilji’s futile attempt to steal at least one glance of his dream woman. Yes, the story maybe of Padmini but it is also the story of war and its consequences. After a while boredom sets in even in ordinary lives. This is one view of him. What is my point here? a woman’s honor need to be protected by a man else death is better than being violated. Or that their values mean she’s better off burning alive instead of being raped or – god forbid – dying in a fight? 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. Why not just view it in the context of that time. Haar ke jeetne wale ko baazigar kehte hain. Perhaps a queen lusted at and at the center of a humiliation, the lives of thousands at stake is difficult to imagine for her. On another note, the audience needed to see why jauhar was a better option than being captured by khilji s army. He shows it again when he speaks about celebrating Diwali and Holi and strategising by getting the other Rajas together.

There are also several well researched articles I have come across about that talk about this: the wasted character of Amir Khusrau, potentially a great Muslim voice in the film; neglecting the character of the first wife who as documented was a strong and intelligent person; neglecting the greys in Ratansen’s character for taking a second wife; the unaddressed gaps in Rajput valour when they do not support one another; the amplified the portrayal of Khilji as a barbarian- there are so many choices here that I have to question the need to make the narrative conform to an ideology rather than the lived experience of the characters. After Alauddin camps outside Chittor, the senior queen is worried. | Again, I am not knocking this principle, but perhaps you can see why in this case it can be problematic. My part of the world has bards extolling the valour of a chieftain; one of our finest scriptwriters/directors duo made a film from the opposite view – that of the antagonist. “Because wholesale sacks, murder and rape was not common when cities fell, thus the question of “honour” or “victory” don’t arise….It all changed when the Arabs and later the Turks and central Asian tribes introduced a heretofore unknown concept of “total war””. I presume he didn’t dare follow that line because sati would find much fewer apologists for it – the jauhar bit can at least have the “had to die before the enemy gets us”logic. . I do see the point(s) you are making, though I don’t agree with them. The way they show Rawal going to visit Khilji without arms despite her warning is similar to Yudishtira going to play dice with the Kauravas after they cheated the first time already (whatever they stole was given back to the Pandavas by their fearful father! War sometimes give rise to unusual strategies that can’t be judged with a civilian framework. Pshaw! Not sure how it can be a custom and also a war strategy. Or multiple gang rapes and then murder (either burnt alive, or cut in half – Khilji’s favourite punishment for idolators and apostates) that death by fire was a preferred alternative?

It would be possible to show how that even then, Jauhar was not really justified. Truth is even harsher.

with a few masala movies, Ranveer shoudl join the Khans list of top heroes in Bollywood. Either that or he was high. Padmavati is dusky, most of her face and body buried underneath jewels and ornate clothes all the time. ( Log Out /  So a film about Schindler’s list made in 1993 will be different from the one made in 2010 which will probably be greatly different from the one made during a resurgence of fascist ideals in civilisation. You might feel that after all, it didn’t glorify jauhar, right? It’s called democracy, a word tom-tommed at international gatherings of global leaders to highlight the Indian march. Yes, I get that he is a collector of all unique and beautiful objects but he goes on this prolonged, insanely expensive campaign based on the words of a disgraced priest. History has countless interpretations as is claimed by our secular brigade. We were taken around the fort in a tonga, a horse drawn cart. BR and P, allow me to state that this comes from a place of affection even though it may not be in the best of taste but I say BAH while sticking out my tongue at both of you while also going NYahhhhh….. PS: Such panegyrics for a pathetic poltroon like SLB. I do really hope we don’t see some kind of hysterical repeat of the RoopKanwar episode. This fictional story is set in 13th century medieval India. And also: Wouldn’t that even be artistically more demanding to try? She picks a few threads that did not go down well with her. Even the films I’m not THAT great a fan of in the overall sense (like Ram Leela), there’s so much going on that each viewing seems like a new viewing.

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