‘Padmavat’ is a boring, referenced and stagy yawn; Bhansali slaps Hindus by portraying Khilji as a likeable ‘love jihadist’ & villain with best lines and scenes


The film is certainly not about the spirit elevating folklore of Mahasati Padmavati and her life and jauhar, an epitome of how Hindus preferred honour to life and strongly resisted ugly, murderous, and cow-killing mlecchas by all the means at their command for 800 years and survived the heinous and barbarous Islamist onslaught on their land and life. It’s not about the valour of Gora & Baadal, the twin Rajput warriors, who fought bravely as true kshatriyas to save the honour of Hindus.

It’s an extremely boring film for those who seek merely entertainment in their cinema. It’s an insulting and humiliating film for sensible & sensitive Hindus. It’s a pleasing film for the Islamists as it presents Allauddin Khilji as the new icon of ‘love jihaad’. It’s a cathartic film for left-liberal gang at TOI, NDTV, Wire, Print, Squint, Scroll, etc. & sundry paid film reviewers as it rubs salt into wounded Hindu hearts. For film trade journalists it’s a film that has already recovered its investment and thus a hit.    

In reality, it’s a film about a romanticised version of the marauder Allaudddin Khilji and his unrequited love for a Rajput queen. Khilji validates his acts by the well-known credo – Jung aur mohabbat mein sab jayaz hai (Everything is valid in love and war). Nearly 60% of the film’s footage is devoted to create a likeable and interesting villain and a ‘love jihadist’ with best of the lines and clap-worthy scenes. What can be more humiliating to sensitive, sensible, and honourable Hindus than to see a hateful killer portrayed as a lover. However, some stupid Hindus with obtuse minds and no sense of self-respect may not sense the insult. Here is a quote from an earlier article on the subject.

"It's gross misrepresentation of the history of Islamist marauders. They were not lovers. They didn’t fill their harems and took sex slaves because they appreciated beauty. They did it to further demoralize and humiliate the conquered and broadcast the supremacy of Islam widely. 


Dishonoring the women of a conquered race was the ultimate and indelible insult and humiliation that remains imprinted on the communal psyche of the race for centuries. It gets unbearably painful when a lowlife Bollywood FILMFAKER trivializes it in the name of his freedom of artistic expression. Yes, Bhansali is a filmfaker. Nearly all his films, barring a few, are third-rate gaudy remakes of Hollywood and old Indian films."     

Every frame of this film is referenced, from dialogues to shots and even screenplay and music, from countless period films of Hollywood, Bollywood, & world cinema. Bhansali’s obsession with Mughal-E-Aazam and his penchant to copycat it is unabated.


He spends crores to produce a fake and boring ‘production design’ driven extremely stagy extravaganza. That’s bad cinema from all artistic perspectives. It will be a déjà vu experience for serious, and inveterate cineastes, sitting through the film and discovering the plethora of recreated frames and shots from opuses of the masters of cinema. It’s a lifeless celluloid opera of dead imagination and moribund creativity and thus an artistic failure.

The film distorts the original folklore to suit the agenda of the filmmaker to refurbish, romanticise, and Bollywoodise an Islamist zealot and brute who was infamous for his rein of terror, pillage, plunder, rape, and indiscriminate destruction from north to west and south of India, essentially the land of Hindus. The warrior classes across the land bore the brunt of his murderous and marauding onslaught.  

The filmmaker deliberately skips the story of the daring raid of Chittor’s Rajput warriors led by Gora and Baadal on Khilji’s camp to free their king Rana Ratan Singh and how Khilji ran for his life with his slave general Malik Kafur, both naked, as his camp was destroyed in fire.

Instead of that he supplants a grossly implausible narrative plot of Padmavati actually visiting Khilji’s palace to have Ratan Singh released and escaping from a secret door with the help of Khilji’s wife. Though Bhansali claims to be following Jayasi’s Padmavat, it’s obviously not the case. He invests most of his creative energies and screen time on building the persona of Khilji, making it as bizarre as he can, to create his ‘Beauty & the Beast’ combo.

Actors ham freely and imitate the histrionics of Shakespearean tragedies, adding cheap Kader Khanish touches of their own. The worst is Shahid Kapoor who brazenly borrows some tricks of hamming trade from his father’s pitaara and appears like a ‘lakadhara’ dressed as a Rajput. It’s obvious he agreed to play the second fiddle to Ranveer for money and money alone. No actor true to his salt would have accepted such an insipid lacklustre role. Even the Troy inspired duel in the climax sequences was not enough to generate any sympathy for his idiotic characterisation and redeem him.  


And Deepika Padukone as Padmavati is like a mannequin selected to carry the opulently embroidered costumes of a queen. What a waste! It’s a film about the character she plays, which is interpreted by the filmmaker as a good looking, ethereally shot woman, laden in heavy lehanga and choli and tonnes of imitation jewellery. It’s a poorly developed role that neither depicts the moral resolve and the inner strength of the Mahasati nor the pain and burden that her beauty has become the nemesis of her people and family. It’s a character with very little emotional quotient. It hardly reflects the pain of Hindus at being bullied and harassed by an uncouth mleccha.


Ranveer Singh as Allauddin Khilji does his own share of unrestrained hamming not so successfully though. We have actors who can contort faces and laugh far more menacingly and give that intriguing devious look far more convincingly than him. It’s a film written and made for him by its writer-director. He has choicest of lines and scenes and shot compositions. After all, nearly 60% of the film has him in the frame. The film could have been easily titled ‘Khilji ka Ishq’ or ‘Sex & Ishq’ or whatever. It’s all about Khilji. Padmavati and others are peripheral characters.

That’s the worst that any filmmaker could do with a legendary icon and highly revered and inspiring folkloric character. And I firmly believe that Indians may not have written their history but they have saved it in their folklores. The written chronicles of a race may be destroyed but its folklore survives forever. And thus if Bhansali, Supreme Court Judges, and CBFC think that liberty can be granted to distort the folkloric history of India and its revered icons, they are wrong and anti-Hindu.


And if Hindus borrowed some ideas from Muslims, particularly the way they treat those who show their religious and cultural icons in poor and distorted light, and behead Bhansali and put his severed head on a spear in the middle of a multiplex, I will not find it even a wee bit cringe worthy. It may send a clear message to the bastardised Bollywood brigade to stay within their limits and not to play with raging fires in Hindu hearts.

A few words for Smriti Irani, Prasoon Joshi and CBFC. They have masterminded a devious behind the scene fixing of the certification process. This film is about an adult subject. It has graphic scenes and shots of severed heads and other kinds of savagery. It’s a film about the most gruesome event in the history of India. I wonder how was it given a UA certificate by CBFC. The CBFC officials and examining committee members obviously didn’t do their job or were asked to sign on the dotted lines. I know how the ROs manipulate the certification process at the behest of their bosses. 

Even the CBFC guidelines have not been applied strictly in this case. Padmavat was uncertifiable otherwise. Please check this link.



Instead of pontificating about the freedom of expression the learned yet easily misled Supreme Court judges should have been adjudicating over the only issue worth consideration, which is, if CBFC has followed its own guidelines while examining the film during the certification process. This is yet another thoughtless judgement of the Supreme Court that defies all constitutional norms, usurps the powers of the state, and compromises the integrity of SC as a defender of Indian constitution.

And a few words for Shri Narendra Modi, our beloved Prime Minister. As the Gujarat Chief Minister he had banned a book on Gandhi that portrayed him as a homosexual. That was the only ban ever imposed on a creative work by a BJP government in the history of India. He obviously did so because Gandhi is our national icon.  

How come he believes that Mahasati Padmini is a less important national icon that can be trifled with by a Bollywood filmfaker? I also wonder if the SC, NaMo and his Govt. will expect Hindus to sit silently in case of an adverse anti-Hindu judgement in the Ram Janmbhoomi case? Will Hindus sit silently and take whatever shit these SC judges heap on them?  Will Yogi’s or Modi’s governments reconstruct the Babri mosque if SC orders them to do it? Will they?   

@khulkebolo @neelnabh

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