PADMAVATI FILM – PERFECT RECIPE FOR NATIONAL CRISIS

Hindi Film Padmavat was released in the midst of major controversies, became a Hit and has already become a part of History. An introspection and retrospection is  necessary to find out where we had gone wrong. Since Sanjay Leela Bhansali had started this Hindi film titled as Padmavati, trouble started in various corners of India.  When the final release date was coming near, serious protests erupted in various parts of India, somewhere touching the boundary of violence. Threats were issued on daily basis. UP has decided to ban this film and demand of total ban was raised, specially in Rajasthan, a state where Rajputs  treated this film as a direct attack on their icons. Someone had announced a  cash prize of Rs 5.0 Crores for the head of Bhansali, other gave a threat that Deepika nose shall be cut into pieces.

 

Hindus in general and Rajputs in particulars were agitated basically on the points that this film showed the Rajput culture and specially Rajput women folk in derogatory manner. Padmavati was shown dancing on openly, Khilzi was shown as having a dream sequence having Padmavati in it as a genuine lover and Rajput culture of valour and bravery was replaced by a feeling of sex obsession and the Rajput woman were shown as semi clad touching to the point of nudity.

 

After staying the ban on release of Sanjay Leela Bhansali’s Padmaavati, imposed by four states, the Supreme Court dismissed pleas from state government requesting reversal of its order and cleared all decks for a pan-India release of the Deepika Padukone-Ranveer Singh-starrer on January 25.

 

However, there seemed to be no end to the troubles en route to the release. Despite the top court’s orders, various incidents of violent protests was reported in Gujarat, Gurgaon and Rajasthan. Several factions of the fringe group Karni Sena threatened “curfew” if theaters screen Padmavati. As a result, most theater owners in Gujarat  decided not to screen the film.

 

In the mean time Censor Board decided to review the earlier certificate and decided that a six member panel would watch the film before its release as proposed by the filmmakers. After this review and experts opinion, Censor Board decided that;-

 

  1. The title shall be replaced as Padmavat.
  2. There shall be a certificate that this film is a work of fiction.

 

It is not known how many and what cuts were made by Censor Board but film was released with changed name as Padmavat and fiction certificate and many many cuts and deletions. The Karni Sena, which was  spearheading the protests against the film, still opposed the release. Though a few state governments have come out in support of the film and had promised to provide protection to the theatres and movie goers, some states were still against the Supreme Court’s decision of pan India release. Ahead of the release of Sanjay Leela Bhansali’s ‘Padmaavat’ on January 25, prohibitory orders were imposed  to maintain law and order situation in view of Shree Rajput Karni Sena threatening to target theatres screening the film.

 

The Film Padmavat was released almost as scheduled in most of the states. After seeing the film, viewers were pleasantly surprised that against all expectations, the film actually glorified the Rajasthan culture with magnificent sets and the bygone era traditions, dresses were able to transport to that part of history where the respect to Padmavati enhanced manifold. The entire events raised many points which had taken the Indian state to a point of Civil War. Here are some points explained;

 

Various authorities have said that Padmavati is a fig of imagination therefore some people are having rights to depict it as love story. Even those who have no idea of History are coming in debates and discussions  to claim that Padmavati story is a tale only. For a moment even if we consider it a tale then why somebody should have rights to explain in a offending manner.

 

People who claim this as piece of imagination, claim that Malik Mohammed Jaisi wrote this tale as Padmavat  out of his imagination but historical facts reveal something else. Allauddin Khilzi attacked Chittorgarh in the year 1303 AD while Malik Mohammed Jaisi  wrote Padmavat in the year 1540 AD roughly after 237 years. It means that between 1303 1nd 1540, nobody penned on this subjects but history says something else totally different from this tale theory. In the intervening period Poet Ben wrote ‘Chhitai Charit’ and Poet Hetamdan wrote ‘Gora Baadal’. Malik Mohammed Jaisi inspired from these two poems and penned down and compiled his own version. If this was a tale only then how two different poets imagined the same incidences. Also from the archeological exploration by ASI in Chttorgarh fort, they have found a Johar Sthal beside human  bones,ashes and bangles made of lac. Therefore it can be concluded that Padmavati was a real life character who along with other women burnt themselves live in fire.

 

The film is full of factual errors originated from ignorance of history and culture of those time and traditions of  Rajputs Royal families. Firstly Rajput royal women were never supposed to dance in public either singly or in group. Perhaps this was commercial compulsion wherein every film has to have song,music,dances, comedy and fights. I recall that in old times, a  film was promoted by a loud speaker mounted on a Rickshaw proceeded by triangular both side poster trolley being pushed by a man. The announcement was something like this; “Aaj hi dekhiye naach gaane, ladaaai mardhad, hansi mazak se bharpoor film………”. Leela Bhansali also could not come out from that mental mould.

 

Secondly Khilzi was shown as a lover of Padmavati who was basically sex obsessed creature who killed and butchered several million Hindus.. Who has given license to Bhansali for such an expressional liberty.

 

People in Rajasthan consider Padmavati as their mother and in other parts of India also, a woman who burnt herself but refused to compromise  a lady of honor and dignity.

 

The bards of Rajasthan sing of Gora and Badal, two legendary warriors of Chittorgarh, Mewar,whose marvelous potent and command over the army has been remembered since ages. History claims that Songara Chauhan generals Gora and Badal were uncle-nephew in relation and hailed from Jalore. When Khilji forced to Mewar state to show the beauty of Padmavati in a mirror, King immediately refused. But Padmavati knew that if she will refuse then whole Mewar people shall suffer miserably in the hands of Khilji. She naively trusted Khilji that if she show her beauty in a mirror to Khilji he shall return. Gora-Bdal the General in Mewar army did not agree on this proposal and due to difference of opinion, they left Mewar and went to woods. It was blunder that she trusted a butcher like Khilji. Sultan Alauddin Khilji (1290-1316) took Rawal Ratan Singh as a prisoner of deceit after he denied the Sultan a chance to meet Queen Padmini in person and savoir her beauty by looking at her in the flesh, instead of admiring her reflection in a mirror..The atonement demanded by Khilji for the rescue of Ratan Singh was Padmini. The objectification of woman as a show piece marked by her beauty is highlighted in proper through this incident. Khilji wanted to enhance the esteem of his harem by seizing Padmini from Chittor. Padmini’s unparalleled beauty called despair for her husband, her kingdom and herself.

 

In the war council that was held immediately after Ratan Singh was taken into captive, Queen Padmavati herself approached Gora and firstly she apologised to Gora and asked his help to rescue King Ratan Singh. Gora as a mark of respect to Queen immediately agreed. Gora and Badal spiritedly planned out a strategy and accordingly acted. Words were sent out to Khijli camp that Padmini would be delivered the next morning and thereby it was asked that his army should be pulled out from the trenches. As the day dawned, one hundred and fifty palanquins (covered cases in which royal ladies were carried in medieval times) left the fort and entered the enemy camp. It was thought that Padmini’s entourage of female servants had accompanied her. But here the hook was- the palanquins were armed with the best Rajput warriors.This pretentious act of agreeing to the demand of the Sultan was in fact a noose for the rival army.When the palanquins reached, Gora gave a signal to the warriors and everyone descended from the palanquins and chopped off the heads of the Muslim soldiers.General Badal and Ratan Singh galloped away safely to Chittorgarh fort. While Gora fought bravely and reached Khiliji’s tent. He was about to kill the Sultan but Khilji moved his concubine in front of himself and Gora being a Rajput could not kill a guiltless woman. Consequently he laid down his life during the skirmish. After that Badal when reached to  Gora wife, he could not disclose the news of Gora death, Gora wife herself said to Badal that she anticipated her husband death and she jumped into burning fire and committed Jauhar.

 

If we breath in the air touching and coming from Gora Badal history, then our chest shall inflate from the scent of bravery with pride. It is a different matter that few of us could not smell the bravery of our forefathers but History always kept these events with due care.It is only because of such bravery that we still remember our history with pride. The most important point is that this legacy of bravery belongs to all Indians irrespective of religion, caste, region and language.

 

Why these subjects were not touched by Bhansali because he was fascinated about the beauty of Padmavati that he was not having time to delve on such minor incidences. It was a different matter that the film instead of touching the beauty aspects, if dealt the Gora-Badal incidence, then a world class movie would have been made.

 

Leela Bhansali is poorly educated or illiterate or ignorant of real History of Padmavati. If he had studied the brave story of Gora Baadal, a story full of twists and turns, palace intrigues, bravery and conviction, a far better movie devoid of any expressional liberty, compromise with History  and any controversy could have been made. The Gora Baadal incidences and their treatment to Padmavati is full of respect, honour and promises that tear rolles down of any reader,  scenes which would have touched the million and million of hearts and Padmavati film would have been certified a milestone in the Indian film history.

 

Previously  it was purely a Rajput affair specially Karni Sena on a mild scale but later on engulfed the practically entire Hindu fold. Hindus were searching for a long time a rallying point, the recent time provided and gifted lot of such points viz; Rohyangiyas, Bangladeshis, appeasements of minorities etc along with now Padmavati. Hindu fold must thank pseudo seculars and pseudo intellectuals who are in the forefront of denigrating Hindu, Gods, Goddesses and their belief system. Now it was the turn of Hindus to pay a return gift to the same system. How System can take Hindus  for granted.

 

A recent trend is noteworthy that firstly prove that certain Hindu God, Hindu tradition, Hindu belief system, Hindu icons, Hindu ideals are a fiction, a tale  with no relation to actual happenings then criticize them, ridicule them, joke them and finally prove that Hindus, since divided in caste system are bunch of fools. Even these tales  were pieces of imagination, nobody should be allowed  to criticize them. Padmavati film is the latest episode of this grand design.

 

The political overtones also can not be denied due to the fact that several political parties saw in these events a golden  opportunity to throw Modi from PM seat. First they supported Bhansali for expressional liberty while one part was behind Karni Sena to arrange agitations and create law and order problems. When State govt wanted to control then they criticized Modi for not showing tolerance to trouble makers. They were playing from both sides.They hoped that they shall get political mileage in 2019 general elections.

 

Does Leela Bhansali or  even any Muslim Director has courage and conviction to film on any incidences of Muslim History. Simply no due to the basic fact that Indian films are very popular in Pakistan and several Muslim countries. Their revenue generation is far higher in Muslim country territories rather than Indian territories. The Muslim counties enjoy the fact that firstly Hindus icons are  denigrated. Secondly their heros such as Allauddin Khilzi was shown as hero, butchering Hindus and side by side a Pdmavati lover and not showing the fact that indeed Khilzi was nothing more than a mass murderer and sex obsessed man. They also enjoy that at that time also Khilzi employed all tactics of love Jihaad.

 

Lastly freedom of expression is always forced upon Hindu Gods, Hindu tradition, Hindu belief system, Hindu icons, why not on any other religion or any other belief system. Why only Hindus belief system is always questioned. Even Indian courts don’t have courage to raise even a eyebrow on any other religion. For others and for Muslim countries, Nadir Shah, Ahmed Shah Abdali, Alladdin Khilzi, Bakhtiyar Khilzi (Who burnt the entire Nalanda university and library beside butchering several millions of young students and faculty), Mohammed Gauri, Babur shall always be their Heros who massacred million and million Hindus, raped their wives and daughters, looted this country. No Indian Director has even a remote courage to make any film/documentary on such massacres, lootings and rapes.

 

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