
Padmaavat movie review: Bhansali couches regressive, opportunistic messaging in exhausting visual splendour
FirstpostIn a scene towards the latter part of writer-director Sanjay Leela Bhansali’s new film, Rani Padmavati has a conversation with the mother of Badal, a loyal soldier in her royal husband’s army who gave up his life to save his king. Far from being an example of that much-touted Rajput bravery, Badal’s end was the result of a foolish and egoistic Rajput king’s foolhardy moves going against the common-sense advice of his far more intelligent wife Padmavati — the king’s stupidity leads to his imprisonment by an enemy ruler, at which point Padmavati displays further intelligence and political acumen in entering the lion’s den and snatching her husband from the jaws of death with the help of those like Badal. The film tells the story of Rani Padmavati, second wife of Maharawal Ratan Singh, king of Chittor situated in today’s Rajasthan. If Alauddin wants a woman for himself, he is portrayed as lustful, whereas Ratan’s betrayal of his first queen for Padmavati is sweet romance. Watching Padmaavat’s lead couple together though, I could not for the life of me understand why Padmavati gave a fig — or her life — for H.R.H.
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