Padmaavat: Long Live the Magic of Sanjay Leela Bhansali.

No other Indian film in the recent past has managed to grab the attention of the nation as much as 'Padmaavat' did, for reasons varying from ugly to ridiculous. The film first made news even before the shooting started as it is typical of a Sanjay Leela Bhansali film to create excitement in the hearts of the audience as well of trade experts, the moment it is announced. Prior to deciding to make a film based on the celebrated tale of the life and valour of the Rajput queen Padmavati, Bhansali successfully adapted it into a ballet-opera exclusively for Parisian audiences, sometime in 2008. It met with positive reactions and a standing ovation which inspired Bhansali to bring Padmavati into the big screen. Post the super success of Bajirao Mastani, when it was revealed that Padmavati would be his next big artistic exploit on the big screen the countdown for the film began right there, right then.

However the film ran into troubled waters while it was in the initial stages of filming as the now infamous Karni Sena vandalized the sets of the film in Rajasthan and also roughed up director Sanjay Leela Bhansali in the process. Their objection being that Bhansali was trying to distort and manipulate history by glamourizing and sensationalizing the story of their revered Rani Padmavati. Their illogical demands and violence reached the peak as the film drew closer to its release date. What happened next - the postponement of the release date, official clarifications form the team, private screenings to appease the protestors, the change of the title from 'Padmavati' to 'Padmaavat' - have been very well documented by the print and electronic media. Cut to the present, the film has finally seen the light of the day and has received extreme reactions from both the audiences and regular film critics.

Coming to the film, it is a feast for the eyes and satiates your inner aesthetic cravings as every frame tells a  story and captivates your soul. Bhansali doesn't miss a single opportunity of showing off  his set decorating skills or the way he presents his actors in their photogenic best. Apart from being the writer and director he is also the curator and creator of the music for the film. As usual the scale is grand and the aura larger-than-life. Bhansali is known for extracting career best performances from his star cast and here too he succeeds in that department to some extent. At the top of the acting chain is Ranveer Singh as the evil and menacing Alauddin Khilji who turns up the heat on the screen with his greed, hyper-sexuality and 'everything is fair in love and war' attitude. He keeps the momentum going even when the screenplay gets stagnant. Shahid Kapur in the role of the Rajput King Maharawal Ratan Singh, turns his once-in-a-lifetime opportunity to work with a director like Bhansali, into a memorable one by giving a  disciplined, restrained and self-assured performance. One look at him and you will be convinced that he imbibes and exudes the body language of a royal like it his second nature.

The weakest link of the film is however Deepika Padukone in the central character. She looks pretty enough to pass of as queen Padmavati but lacks flesh and blood to make us root for her. It also didn't help that her character reminds us of her former outing as Mastani in Bhansali's last film. Her dialogue delivery is flat, body language timid and demeanour monotonous; as if she is literally being bogged down by the heavy jewelry pieces she is wearing in the film. However it is not difficult to understand as to why she was chosen for the role and that is her distinction as the most beautiful (unmarried) and desirable woman in the country right now. She is a fine actor but unfortunately her acting abilities were not at par with the film's vision.

Now that it is established that the film is a historical fiction based on Malik Muhammad Jayasi's poem Padmavat there is no point looking for historical accuracy in the narrative. However the film deserves praise for incorporating subtle hints of same sex love (Jim Sarbh as an eunuch-slave-warrior is a revelation) and secularism which counter balances the film's understandably controversial 'glorification' of the act of 'Jauhar' or self-immolation (an anti-climax which almost threatens to derail the sanctity of the film). Padmaavat doesn't even come close to being considered as Sanjay Leela Bhansali's best work till date but kudos to him for standing up to his vision and sticking to his film making ideals in the face of extreme opposition. Between Karni Sena's protest and the film's toned down version by the censor's knife to keep everyone happy, we will never know what the original intention of the film was. We can only celebrate the fact that the film is finally out for everyone to see while keeping in mind that the road ahead for creativity and freedom of expression is hardly going to be rosy.

P.S: As of now the film has topped the New Zealand box office and has broken many records overseas. Back home it is set to cross the 200 crore mark the coming weekend. 

- David Lagachu
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