Even a poignant tale like Devdas
suffered grandeur in the hands of Sanjay Leela Bansali. It is therefore not
surprising that Padmavat – with or without an ‘I’ follows the excess paradigm.
His recent success at the BO with Ranveer and Deepika propels the excess
further. Nothing succeeds like excess. Spiced with controversy SLB only needed
the theaters to breathe easy. D-day has arrived. Set to a scale that could make
the likes of K. Asif and Kamal Amrohi blush this SLB outing makes for a tired
view more than an interesting view.
The tale is roughly sketched around the early hours of the Khillji King
Allauddin (Ranveer) who through a palace coup kills his uncle (Raza Murad)
marries his daughter Meher (Aditi Rao Hydari) and then sets his eye on the
Marwar kingdom and its queen.
Alongside is the Marwar story of the King Ratan Singh (the talented Shahid
Kapoor) who falls head over heels for hunting lass Padmavati (Deepika) – shades
of inspiration from the Bahubali trip. Smitten by her beauty he brings her to
his kingdom as his lawful wife. The in house Koutiliya without cause does a
floor crossing and decides to join the Khilji camp.
Allauddin on a maniacal trip decides to attack Mewar. Every poor trick in the
book is employed. In contrast the heroic of the Rajputs is in full evidence.
Even the marginally initiated would know that this led to the historic Sati.
The film starts with the expected disclaimer on historic authenticity. It also
makes clear that it does not glorify Sati. What it fails to state is that
historic event is bathed in heroics. Morality is always time denominated. Yuga
dharma. The clash between Allauddin Khilji and Rattan Singh is a black and
white conflict. We have SLB go overboard with signature aplomb. It is a style
that he is prey to and this time the script even justifies it.
Unfortunately, the cast especially Ranveer and Deepika fail to deliver. As the
gluttonous, lecherous, loquacious Khillji Ranveer looks and behaves more like
Godzilla than Khilji. Deepika is neither the feisty Ram Leela protagonist nor
the temptress of Bajirao. Her emotive skill sets are lost either behind the
heavy jewelry or the poor script. It is Shahid Kapoor, notwithstanding his
comparative diminutive personality comes out with a dignified performance. In
this Royal battle of kings and queens the Jodha Akbar royalty is conspicuously
absent. The finale of Attack Vs. Invade leading to the Sati ceremony is totally
devoid of dramatic moments, simply because it defies the law of elasticity.
Obviously, the roar against the content of the film and the allegation that it
brings down the aura of a certain clan is a wolf call. Much ado about nothing.
This Padmavat is not a face that could launch a thousand ships. It is a script
that gives more importance to the sets than to anything else. If you are
satisfied watching some amazing backdrops and sets and fine cinematography this
SLB offering is worth defying the Karni Sena or lumpens threatening a safe
visit to the theatres. Yet go for it to keep the moral guardians at bay.
L. Ravichander