ISLAMABAD: Sanjay Leela Bhansali’s controversial Padmavat, which recently hit theatres, is an ostentatious and ambitious retelling of the epic story of Padmavati. The film is said to be one of the most expensive Indian films to date.

Bhansali steps outside his comfort zone in Padmavat by portraying the demure Rajput queen as a courageous woman who inscribed her name on the history of the Rajputs. The film is based on a 16th century epic poem of the same name by Malik Mohammad Jayasi.

The film opens in 13th century Afghanistan, where Jalaluddin Khilji (Raza Murad) is planning to seize Delhi. His nephew, Alauddin Khilji (Ranveer Singh) asks for his daughter Mehrunnisa’s hand in marriage, which is accepted.

Meanwhile, Deepika Padukone makes her first appearance in the film as the princess of Singala, Rani Padmavati, hunting in a jungle. She shoots an arrow at a passing deer, but instead hits the Rajput ruler Maharwal Ratan Singh (Shahid Kapoor). The two fall in love at first sight, and return to Chittor – Ratan Singh’s state – married.

However, Ratan Singh’s royal priest Rajhav Chetan is not pleased with the marriage, and is eventually thrown out of the kingdom.

Angered, Chetan promises to destroy Singh’s dynasty, and turns to Alauddin Khilji, to whom he describes Padmavati’s beauty and convinces that his dynasty would flourish with Padmavati by his side.

Ranveer Singh’s Khilji is the epitome of villainous, draped in fur coats with a scarred face and long unruly hair.

The film also appears to skim over his role in the Khilji dynasty, and is mostly interested in his fixation on Padmavati.

Khilji prepares his army to attack Chittor and capture Padmavati, and after several failed attempts feigns peace and offers to surrender. However, once he catches a glimpse of Padmavati, Khilji is awestruck by her beauty. Khilji eventually successfully attacks Chittor Fort, but Padmavati commits jauhar – self immolation – to protect herself from being captured by Khilji.

Missing from the movie is any hint of a romance between the Rajput queen and Muslim conqueror – which was one part of the controversy that preceded its release. In fact, the two characters barely have two scenes together.

Bhansali’s depiction of the Rajasthani palaces and temples are very true to the era, marked by the detailed jharokas and wooden doors. Padmavati’s costumes too are quintessentially Rajasthani, but take into consideration influence from the Sinhalese culture – from what is now known as Sri Lanka. Ratan Singh and Alauddin Khilji’s costumes too showcase their Rajasthani and Turk-Afghan heritage.

The director’s attention to the grandeur of the sultans and maharajas also comes through in the armies’ weaponry and armour. At the same time, however, the film moves quite slowly, with repetitive scenes of palaces, temples and battles that at time lose the audience’s attention.

Published in Dawn, January 28th, 2018