<p>I never form opinions unless I have lived an experience. I don&#39;t judge a book before I have read it, a dish before I have tasted it, a road before I have taken it or a movie before I have watched it. Therefore, I did watch Padmaavat.</p>

<p>Of course, I was completely prepared to be let down by the storytelling, use of logic, the VFX (something that is extremely important in movies such as these), the regressive ideologies, homophobia, Islamophobia and so much more... but I decided to go anyway. Blame it on hype!</p>

<p>So, there I was watching this great masterpiece of cinema and with every passing shot wishing that the woman in me can sit through these 3 long hours of humiliation. Why do I feel humiliated, you may ask... in response I ask the woman in you to imagine few situations.</p>

<p>Imagine, your father has gifted something priceless to your husband, who very callously gives it away to someone. What exactly will you feel about this? Trust me, you will be very mad. You are going to ask him to go find a replacement after giving him an earful (even if you are the kindest and the most giving wife). That is exactly what the king&#39;s first wife did.</p>

<p>Now, imagine this, you send your husband to get something from the market and he comes back home with a new wife...I know peeps polygamy is not legal. Also, these days everything is really a click away and most of our stuff get home-delivered. But just imagine this anyway. You will be shattered, right? Broken? You will feel humiliated and insulted.</p>

<p>That is exactly how you are supposed to feel. Our director does not seem to agree though.&nbsp;</p>

<p>He has inserted a dream sequence to introduce us to the king&#39;s first wife. And boy, what an introduction that was. Every valid response of this queen was turned against her to establish her as a greedy, mercenary woman who holds pearls dearer than her husband! The fact that those very pearls were a gift from her father and that the king had chosen to give them away as rewards when he could really have given away any other treasure, does not count you see.</p>

<p>While watching the movie, I felt that the dream shot was included because the director wanted (by all means) to justify the king&#39;s roving eyes and eventually his falling in love with another woman while he was out there to get back something priceless that he had so callously given away in the first place.</p>

<p>Did you notice by the way the complexion and the features of the king&#39;s first wife? For those who noticed, I will not have to explain. But for those who did not let me tell you, she was a woman of dark complexion and when compared to the Lankan princess, not so sharp features. So, when the king saw such &#39;beauty&#39; in the forests of Lanka, he obviously lost all his good sense and by his own admission started following (stalk actually) her.&nbsp;</p>

<p>WOW! I did not know how his first wife looked (if at all she existed that is) but going by the casting it seems the director tried to say that it is okay for a man to pursue another woman if his wife/partner does not match proverbial beauty standards.</p>

<p>&nbsp;Greedy, bad looking women completely deserve this, no? Being portrayed as a cause of a man&rsquo;s misconduct? Being subjected to humiliation?</p>

<p>&nbsp;It would be more appealing to me as a moviegoer if the director could have established the other queen as an equally upright lady and not questioned her reasons for reacting in a manner she chose to act in. Or, if that would not be shown as a nightmare that led the king to cross his sand dunes and venture into an unknown territory.</p>

<p>But, remember you have paid precious 500 rupees and too many questions would ruin the fun of watching the magnum opus.</p>

<p>&nbsp;The director stretches creative liberty to the extent where your intelligence as an audience is compromised. Therefore, you find yourself sitting through khali bali and staring at an emperor stomping his feet and making animated (laughable) gestures. Creative liberty, you see. History be damned.</p>

<p>Logic be damned too. The king enters a tent put up in the middle of a barren desert with nothing else in sight and then simply vanishes. His guards waiting outside is clueless about their &#39;Hukum&#39; gone missing till, of course, they enter the tent to find no one there. I had to just laugh out loud. As to how come people just disappeared. They surely could not have evaporated into thin air, no? The kidnapping of the &#39;Hukum&#39; scene beats all logic, if you ask me.</p>

<p>&nbsp;Finally, the pious queen springs into action and thankfully has a war strategy in place to back her noble intention of rescuing her husband. She does manage to bring her husband back to the fort and it is &#39;achchhe din&#39; again at the haveli but I cannot relax, you see. Because I know I am very close to witnessing something that would make me cringe as a woman.</p>

<p>Again, as an honest audience, I felt a little let down here. Why, you may ask. The director had issued a disclaimer right in th beginning, saying in so many words that he was not about to glorify the custom of Jauhar. And I had chosen to buy his disclaimer. But he failed me yet again. The long shots instilled towards the end, highlighting all the rituals associated with this dark custom seemed like a sharp contrast to the message echoed in the beginning of the movie. By the time the voiceover was sounded at the very end, I was compelled to lose faith in the director. There was discord I thought between the words and the intent.</p>

<p>&nbsp;As an audience, maybe, I will forgive you. But as a woman, I find that a little difficult to do.</p>

<p>Despite all this, director sir, you still win. And I lose. You know why? Several women who watched your movie over the weekend told me they had a great cinematic experience and that your work is proof that Hindi cinema has evolved. And that is the reason I lose, sir.</p>

<p>I can write pages and still not be able to explain how much this insult that you have slapped on my face will continue to hurt for a long time to come. The fact that you have dressed this insult up so well in fine clothes and rich jewellery does not make it hurt offend, hurt any less.</p>

<p>&nbsp;</p>

<p><em>(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)</em>&nbsp;&nbsp;</p>


As a viewer, maybe, I will forgive you, Mr Bhansali. But as a woman, I find that a little difficult to do.

I never form opinions unless I have lived an experience. I don't judge a book before I have read it, a dish before I have tasted it, a road before I have taken it or a movie before I have watched it. Therefore, I did watch Padmaavat. Of course, I was completely prepared to be let down by the storytelling, use of logic, the VFX (something that is extremely important in movies such as these), the regressive ideologies, homophobia, Islamophobia and so much more... but I decided to go anyway. Blame it on hype! So, there I was watching this great masterpiece of cinema and with every passing shot wishing that the woman in me can sit through these 3 long hours of humiliation. Why do I feel humiliated, you may ask... in response I ask the woman in you to imagine few situations. Imagine, your father has gifted something priceless to your husband, who very callously gives it away to someone. What exactly will you feel about this? Trust me, you will be very mad. You are going to ask him to go find a replacement after giving him an earful (even if you are the kindest and the most giving wife). That is exactly what the king's first wife did. Now, imagine this, you send your husband to get something from the market and he comes back home with a new wife...I know peeps polygamy is not legal. Also, these days everything is really a click away and most of our stuff get home-delivered. But just imagine this anyway. You will be shattered, right? Broken? You will feel humiliated and insulted. That is exactly how you are supposed to feel. Our director does not seem to agree though. He has inserted a dream sequence to introduce us to the king's first wife. And boy, what an introduction that was. Every valid response of this queen was turned against her to establish her as a greedy, mercenary woman who holds pearls dearer than her husband! The fact that those very pearls were a gift from her father and that the king had chosen to give them away as rewards when he could really have given away any other treasure, does not count you see. While watching the movie, I felt that the dream shot was included because the director wanted (by all means) to justify the king's roving eyes and eventually his falling in love with another woman while he was out there to get back something priceless that he had so callously given away in the first place. Did you notice by the way the complexion and the features of the king's first wife? For those who noticed, I will not have to explain. But for those who did not let me tell you, she was a woman of dark complexion and when compared to the Lankan princess, not so sharp features. So, when the king saw such 'beauty' in the forests of Lanka, he obviously lost all his good sense and by his own admission started following (stalk actually) her. WOW! I did not know how his first wife looked (if at all she existed that is) but going by the casting it seems the director tried to say that it is okay for a man to pursue another woman if his wife/partner does not match proverbial beauty standards. Greedy, bad looking women completely deserve this, no? Being portrayed as a cause of a man’s misconduct? Being subjected to humiliation? It would be more appealing to me as a moviegoer if the director could have established the other queen as an equally upright lady and not questioned her reasons for reacting in a manner she chose to act in. Or, if that would not be shown as a nightmare that led the king to cross his sand dunes and venture into an unknown territory. But, remember you have paid precious 500 rupees and too many questions would ruin the fun of watching the magnum opus. The director stretches creative liberty to the extent where your intelligence as an audience is compromised. Therefore, you find yourself sitting through khali bali and staring at an emperor stomping his feet and making animated (laughable) gestures. Creative liberty, you see. History be damned. Logic be damned too. The king enters a tent put up in the middle of a barren desert with nothing else in sight and then simply vanishes. His guards waiting outside is clueless about their 'Hukum' gone missing till, of course, they enter the tent to find no one there. I had to just laugh out loud. As to how come people just disappeared. They surely could not have evaporated into thin air, no? The kidnapping of the 'Hukum' scene beats all logic, if you ask me. Finally, the pious queen springs into action and thankfully has a war strategy in place to back her noble intention of rescuing her husband. She does manage to bring her husband back to the fort and it is 'achchhe din' again at the haveli but I cannot relax, you see. Because I know I am very close to witnessing something that would make me cringe as a woman. Again, as an honest audience, I felt a little let down here. Why, you may ask. The director had issued a disclaimer right in th beginning, saying in so many words that he was not about to glorify the custom of Jauhar. And I had chosen to buy his disclaimer. But he failed me yet again. The long shots instilled towards the end, highlighting all the rituals associated with this dark custom seemed like a sharp contrast to the message echoed in the beginning of the movie. By the time the voiceover was sounded at the very end, I was compelled to lose faith in the director. There was discord I thought between the words and the intent. As an audience, maybe, I will forgive you. But as a woman, I find that a little difficult to do. Despite all this, director sir, you still win. And I lose. You know why? Several women who watched your movie over the weekend told me they had a great cinematic experience and that your work is proof that Hindi cinema has evolved. And that is the reason I lose, sir. I can write pages and still not be able to explain how much this insult that you have slapped on my face will continue to hurt for a long time to come. The fact that you have dressed this insult up so well in fine clothes and rich jewellery does not make it hurt offend, hurt any less. (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Opinion: Why the woman in you should be offended by Padmaavat

<p>There seems to be no respite for Sanjay Leela Bhansali&#39;s Padmaavat. Even though the film has managed to release in most parts of the country on January 25th, the film is being called out for its regressive content. Many have felt Bhansali, despite giving a disclaimer in the beginning, glorifies the archaic practice of Jauhar. Critics, thinkers and writers have also condemned the director for glamourizing the climax making the Jauhar scene look larger than life.&nbsp;</p>

<p>Actress Swara Bhaskar, who is known to speak her mind on pertinent&nbsp;issues, is the latest to call out Bhansali&#39;s regressive script. In an open letter for a&nbsp;news website, Bhaskar condemned Bhansali for&nbsp;glorifying&nbsp;Jauhar&nbsp;in his film.</p>

<p>Beginning by&nbsp;congratulating Sanjay Leela Bhansali for the film, Swara Bhaskar wrote that how she has batted for him and his film and spoken on the importance of artistic freedom. Bhaskar wrote that she had worked with Bhansali in a small role in&nbsp;<em>Guzaarish</em>, and how she had observed the director&#39;s precision over minutest details.&nbsp;</p>

<p><a href="http://www.wionews.com/india-news/opinion-how-sanjay-leela-bhansali-plays-to-the-gallery-with-padmaavat-30890">Also read: How Sanjay Leela Bhansali plays to the gallery with Padmaavat</a></p>

<p>Attaching&nbsp;a video of her speaking in favour of Padmaavat, Swara reminded&nbsp;Bhansali how she always took a stand for him.</p>

<p>But the actress said that after watching Padmaavat,&nbsp;she felt she was reduced to a vagina. Swara wrote, &quot;I felt reduced to a vagina&ndash;only. I felt like all the &lsquo;minor&rsquo; achievements that women and women&rsquo;s movements have made over the years&ndash; like the right to vote, the right to own property, the right to education, equal pay for equal work, maternity leave, the Vishakha judgement, the right to adopt children&hellip;&hellip; all of it was pointless; because we were back to basics.&quot;</p>

<p>Swara said that a woman had the right to live despite being raped, despite being widowed. &quot;Surely Sir, you agree that&nbsp;<em>Sati</em>, and&nbsp;<em>Jauhar</em>&nbsp;are not practices to be glorified. Surely, you agree that notwithstanding whatever archaic idea of honour, sacrifice, purity propels women and men to participate in and condone such practices; that basically&nbsp;<em>Sati&nbsp;</em>and&nbsp;<em>Jauhar,</em>&nbsp;like the practice of Female Genital Mutilation (FGM) and Honour Killings, are steeped in deeply patriarchal, misogynist and problematic ideas,&quot; the actress wrote.</p>

<p>She further wrote that she understands that the movie is a period film and set in the 13th century where it was normal of a woman to commit Sati or Jauhar than being touched by another man who is not her husband, but it did not mean that it had to be projected in the way Bhansali did in his film. &quot;I understand that&nbsp;<em>Jauhar</em>&nbsp;and&nbsp;<em>Sati&nbsp;</em>are a part of our social history. These happened. I understand that they are sensational, shocking dramatic occurrences that lend themselves to splendid, stark and stunning visual representation; especially in the hands of a consummate maker like yourself &mdash; but then so were the lynchings of blacks by murderous white mobs in the 19th&nbsp;century in the US &ndash; sensational, shocking dramatic social occurrences. Does that mean one should make a film about it with no perspective on racism? Or, without a comment on racial hatred? Worse, should one make a film glorifying lynchings as a sign of some warped notion of hot-bloodedness, purity, bravery &ndash; I don&rsquo;t know, I have no idea how possibly one could glorify such a heinous hate crime,&quot; Swara wrote.</p>

<p><a href="http://www.wionews.com/india-news/padmaavat-review-ranveer-singh-shines-in-bhansalis-visually-grand-historical-saga-30568">Read Padmaava review here</a></p>

<p>Bhaskar said that despite the story being based in the 13th century, the film had 21st-century context and that glorifying a mass suicide in order to protect one&#39;s honour was not the most accurate way of telling the story. &quot;The&nbsp;<em>context&nbsp;</em>of your film is India in the 21st&nbsp;century; where five years ago, a girl was gang-raped brutally in the country&rsquo;s capital inside a moving bus. She didn&rsquo;t commit suicide because her honour had been desecrated, Sir. She fought her six rapists.&nbsp;</p>

<p>Bhaskar also wrote that how a disclaimer at the beginning of the movie made no sense when the entire film was about Rajput and the community&#39;s attempt at&nbsp;saving honour that was more important than the right to live. &quot;In the climax, breathtakingly shot of course &ndash; hundreds of women bedecked in red like Goddess Durga as bride rushed into the&nbsp;<em>Jauhar&nbsp;</em>fire while a raving Muslim psychopathic villain loomed over them and a pulsating musical track &ndash; that had the power of an anthem; seduced the audience into being awestruck and admiring of this act. Sir, if this is not glorification and support of&nbsp;<em>Sati&nbsp;</em>and<em>Jauhar</em>, I really do not know what is,&quot;the letter further added.&nbsp;</p>


Swara Bhaskar called out Sanjay Leela Bhansali for the glorification of Sati and Jauhar in his film

There seems to be no respite for Sanjay Leela Bhansali's Padmaavat. Even though the film has managed to release in most parts of the country on January 25th, the film is being called out for its regressive content. Many have felt Bhansali, despite giving a disclaimer in the beginning, glorifies the archaic practice of Jauhar. Critics, thinkers and writers have also condemned the director for glamourizing the climax making the Jauhar scene look larger than life. Actress Swara Bhaskar, who is known to speak her mind on pertinent issues, is the latest to call out Bhansali's regressive script. In an open letter for a news website, Bhaskar condemned Bhansali for glorifying Jauhar in his film. Beginning by congratulating Sanjay Leela Bhansali for the film, Swara Bhaskar wrote that how she has batted for him and his film and spoken on the importance of artistic freedom. Bhaskar wrote that she had worked with Bhansali in a small role in Guzaarish, and how she had observed the director's precision over minutest details. Also read: How Sanjay Leela Bhansali plays to the gallery with Padmaavat Attaching a video of her speaking in favour of Padmaavat, Swara reminded Bhansali how she always took a stand for him. But the actress said that after watching Padmaavat, she felt she was reduced to a vagina. Swara wrote, "I felt reduced to a vagina–only. I felt like all the ‘minor’ achievements that women and women’s movements have made over the years– like the right to vote, the right to own property, the right to education, equal pay for equal work, maternity leave, the Vishakha judgement, the right to adopt children…… all of it was pointless; because we were back to basics." Swara said that a woman had the right to live despite being raped, despite being widowed. "Surely Sir, you agree that Sati, and Jauhar are not practices to be glorified. Surely, you agree that notwithstanding whatever archaic idea of honour, sacrifice, purity propels women and men to participate in and condone such practices; that basically Sati and Jauhar, like the practice of Female Genital Mutilation (FGM) and Honour Killings, are steeped in deeply patriarchal, misogynist and problematic ideas," the actress wrote. She further wrote that she understands that the movie is a period film and set in the 13th century where it was normal of a woman to commit Sati or Jauhar than being touched by another man who is not her husband, but it did not mean that it had to be projected in the way Bhansali did in his film. "I understand that Jauhar and Sati are a part of our social history. These happened. I understand that they are sensational, shocking dramatic occurrences that lend themselves to splendid, stark and stunning visual representation; especially in the hands of a consummate maker like yourself — but then so were the lynchings of blacks by murderous white mobs in the 19th century in the US – sensational, shocking dramatic social occurrences. Does that mean one should make a film about it with no perspective on racism? Or, without a comment on racial hatred? Worse, should one make a film glorifying lynchings as a sign of some warped notion of hot-bloodedness, purity, bravery – I don’t know, I have no idea how possibly one could glorify such a heinous hate crime," Swara wrote. Read Padmaava review here Bhaskar said that despite the story being based in the 13th century, the film had 21st-century context and that glorifying a mass suicide in order to protect one's honour was not the most accurate way of telling the story. "The context of your film is India in the 21st century; where five years ago, a girl was gang-raped brutally in the country’s capital inside a moving bus. She didn’t commit suicide because her honour had been desecrated, Sir. She fought her six rapists. Bhaskar also wrote that how a disclaimer at the beginning of the movie made no sense when the entire film was about Rajput and the community's attempt at saving honour that was more important than the right to live. "In the climax, breathtakingly shot of course – hundreds of women bedecked in red like Goddess Durga as bride rushed into the Jauhar fire while a raving Muslim psychopathic villain loomed over them and a pulsating musical track – that had the power of an anthem; seduced the audience into being awestruck and admiring of this act. Sir, if this is not glorification and support of Sati andJauhar, I really do not know what is,"the letter further added.

Swara Bhaskar felt 'reduced to vagina' after watching 'Padmaavat'

<p>There is no end to all the controversy around Sanjay Leela Bhansali&#39;s<em> </em><em>Padmaavat</em>. Even as filmmakers have got a CBFC clearance to release the film after 5 modifications and a change in the title, protests across the country continue to grow demanding a ban on the film.&nbsp;<br />
<br />
Rajasthan and Gujarat have banned the film in their respective states. Now female members of Kshatriya community in Chittorgarh on Saturday threatened to perform &quot;jauhar&quot; (self-immolation) if the screening of the film is not stopped by the government.<br />
<br />
A Sarvasamaj meeting held in Chittaurgarh on Saturday where the members decided to stage a phase-wise protest against the proposed release of the film. The meeting was attended by around 500 people, out of which 100 females belonged to high-profile families of the city.<br />
<br />
Spokesperson of Rajput Karni Sena, Virendra Singh told a news agency that they intend to block national highways and railway tracks across Chittorgarh on January 17th.&nbsp;<br />
<br />
Singh also stated that a representative board will also meet Prime Minister Narendra Modi on January 16, who is scheduled to visit Pachpadra village in Barmer district for laying the foundation stone for a refinery project.<br />
&quot;A request will be made to him as well to stop the screening of the film,&quot; he said.<br />
<br />
&quot;But, if despite all these measures the film is released, the women of Kshatriya Samaj will perform jauhar on January 24 -- the day when the queen performed jauhar -- and at the same site,&quot; said Virendra Singh.<br />
<br />
Chittaurgarh Jauhar Smriti Sansthan general secretary Bhanwar Singh said that preparations were also being made to close the gates of the historical Chittorgarh fort once again.<br />
<br />
Earlier, the Sena had planned a protest on January 25 and 26, but in the wake of Republic Day celebrations, the protest was rescheduled to January 17, Virendra Singh added.</p>

<p>(With agency inputs)</p>


A Sarvasamaj meeting held in Chittorgarh on Saturday where the members decided to stage a phase-wise protest against the proposed release of the film

There is no end to all the controversy around Sanjay Leela Bhansali's Padmaavat. Even as filmmakers have got a CBFC clearance to release the film after 5 modifications and a change in the title, protests across the country continue to grow demanding a ban on the film. Rajasthan and Gujarat have banned the film in their respective states. Now female members of Kshatriya community in Chittorgarh on Saturday threatened to perform "jauhar" (self-immolation) if the screening of the film is not stopped by the government. A Sarvasamaj meeting held in Chittaurgarh on Saturday where the members decided to stage a phase-wise protest against the proposed release of the film. The meeting was attended by around 500 people, out of which 100 females belonged to high-profile families of the city. Spokesperson of Rajput Karni Sena, Virendra Singh told a news agency that they intend to block national highways and railway tracks across Chittorgarh on January 17th. Singh also stated that a representative board will also meet Prime Minister Narendra Modi on January 16, who is scheduled to visit Pachpadra village in Barmer district for laying the foundation stone for a refinery project. "A request will be made to him as well to stop the screening of the film," he said. "But, if despite all these measures the film is released, the women of Kshatriya Samaj will perform jauhar on January 24 -- the day when the queen performed jauhar -- and at the same site," said Virendra Singh. Chittaurgarh Jauhar Smriti Sansthan general secretary Bhanwar Singh said that preparations were also being made to close the gates of the historical Chittorgarh fort once again. Earlier, the Sena had planned a protest on January 25 and 26, but in the wake of Republic Day celebrations, the protest was rescheduled to January 17, Virendra Singh added. (With agency inputs)

Chittor: Kshatriya women threaten to commit jauhar if Padmaavat release is not stalled

<p>I grew up hearing pride sagas of Maharana Pratap, Prithviraj Chauhan, Rana Sanga, Rani Padmini, Rani Lakshmibai and a lot more heroes. My grandmother had a treasure of such heroic tales. From interesting folklores to epic poems written by famous personalities, those bedtime stories gave me the fascination to know Indian history.</p>

<p>When I learned more about Indian history, one thing was very clear that history is always written from the perspective of the victors, not the losers. Victory tales are easier to carry forward to next generation and there are various ways of doing it, such as writing songs, poems, stories, movies etc.</p>

<p>Cinema has a huge impact on the people. Its content, music, theme, location, actors, play an important role in establishing the relation between cinema and society. Movies and TV serials based on history and mythology have lasting impression for decades and sometimes forever.</p>

<p>For instance, Ramanand Sagar&#39;s Ramayan was a very popular TV show in India during the 90s. The popular actor Arun Govil who played Ram was actually considered as Lord Ram by many believers. Once, he was beaten up by the people when they caught him smoking.</p>

<p>There are several other examples of such cases where people have gotten into such acts by showing their passion for a particular movie or TV serial.</p>

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<h5>There are people, who are not protesting but has deep-rooted sentiments associated with Rani Padmavati but their sentiments are unheard.</h5>
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<p>On the contrary, the protest done by Karni Sena and Rajput communities for the movies Padmavati is entirely different. The movie, which is directed by Sanjay Leela Bhansali and has Deepika Padukone&nbsp;in the lead role, is said to have distorted history.</p>

<p>I don&#39;t support the ongoing row but there are people, who are not protesting but have deep-rooted sentiments associated with Rani Padmavati, and their sentiments are unheard. I am&nbsp;waiting for the CBFC&#39;s certificate and movie&#39;s disclaimer, before that I can not comment on the movie.</p>

<p>When I talk about the disclaimer, there are two ways it can happen, first, either the&nbsp;disclaimer will say that the movie is based on fictional characters but there is the presence of historical characters, such as Rawal Singh and Alauddin Khilji and both have a documented history. Also, if it is based on fiction or myth then, why the name Padmavati is taken? He could have used some other name Leelawati or Mayawati but why Padmavati?</p>

<p>It is not about Padmavati&#39;s physical existence but Rajput community believes in Rani Padmavati and that belief is connected to their sentiment. Even Sai Baba was politicised, but many who believed in him still worship him. The controversy that said, &quot;Sai Baba was not a God or a Saint, he should not be worshipped&quot; just benefitted fringe groups and factions. Many of us do believe in God and Goddess but there will always be a question on the existence of God/Goddess as well. But believers are going to believe.</p>

<p>Second, if the disclaimer says that movie is based on real historical characters, then Mr Bhansali is proving the point that Rani Padmavati existed.</p>

<p>Biography of Alauddin was documented by a Persian historian Wassaf and it is one the few sources to learn about Khilji dynasty. Along with Wassaf, Amir Khusrau also has written about Alauddin Khilji.</p>

<p>In the 12th century, Khusrau has documented that Alauddin treated the obedient Hindu zamindars kindly and granted more favours to them than they had expected. He also stated that all the insolent Hindus in the realm of Hind had died on the battlefield and the other Hindus had bowed their heads before Alauddin.</p>

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<h5>The best way to get rid of such protests for the movies which are based on mythology or history, the director must get the script approved by Censor Board then start the production process.</h5>
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<p>Raja Rawal Singh did not bow his head and was defeated inadequately in the battlefield, though he fought bravely along with his commanders Gora and Badal, but died at the end, leaving behind his two wives and the empire. The wives, Rani Prabhavati and Rani Padmavati had no other option to save their pride and honour from the invaders through self-immolation (Jauhar).</p>

<p>In my opinion, the best way to get rid of such protests around movies, which are based on mythology or history, is to get the script approved by the Censor Board then start the production process. To judge the movie after the release doesn&#39;t make any sense. Movies like Padmavati, which has&nbsp;gathered attention will do good business. If the director has made the film to earn profit then its ok otherwise if he is portraying Rajputana pride and honour then the movie must soothe the Rajput communities.</p>

<p><em>(Disclaimer: The author writes here in a personal capacity).</em></p>


The Rajput community believes in Rani Padmavati and that belief is connected to their sentiments.

I grew up hearing pride sagas of Maharana Pratap, Prithviraj Chauhan, Rana Sanga, Rani Padmini, Rani Lakshmibai and a lot more heroes. My grandmother had a treasure of such heroic tales. From interesting folklores to epic poems written by famous personalities, those bedtime stories gave me the fascination to know Indian history. When I learned more about Indian history, one thing was very clear that history is always written from the perspective of the victors, not the losers. Victory tales are easier to carry forward to next generation and there are various ways of doing it, such as writing songs, poems, stories, movies etc. Cinema has a huge impact on the people. Its content, music, theme, location, actors, play an important role in establishing the relation between cinema and society. Movies and TV serials based on history and mythology have lasting impression for decades and sometimes forever. For instance, Ramanand Sagar's Ramayan was a very popular TV show in India during the 90s. The popular actor Arun Govil who played Ram was actually considered as Lord Ram by many believers. Once, he was beaten up by the people when they caught him smoking. There are several other examples of such cases where people have gotten into such acts by showing their passion for a particular movie or TV serial. There are people, who are not protesting but has deep-rooted sentiments associated with Rani Padmavati but their sentiments are unheard. × On the contrary, the protest done by Karni Sena and Rajput communities for the movies Padmavati is entirely different. The movie, which is directed by Sanjay Leela Bhansali and has Deepika Padukone in the lead role, is said to have distorted history. I don't support the ongoing row but there are people, who are not protesting but have deep-rooted sentiments associated with Rani Padmavati, and their sentiments are unheard. I am waiting for the CBFC's certificate and movie's disclaimer, before that I can not comment on the movie. When I talk about the disclaimer, there are two ways it can happen, first, either the disclaimer will say that the movie is based on fictional characters but there is the presence of historical characters, such as Rawal Singh and Alauddin Khilji and both have a documented history. Also, if it is based on fiction or myth then, why the name Padmavati is taken? He could have used some other name Leelawati or Mayawati but why Padmavati? It is not about Padmavati's physical existence but Rajput community believes in Rani Padmavati and that belief is connected to their sentiment. Even Sai Baba was politicised, but many who believed in him still worship him. The controversy that said, "Sai Baba was not a God or a Saint, he should not be worshipped" just benefitted fringe groups and factions. Many of us do believe in God and Goddess but there will always be a question on the existence of God/Goddess as well. But believers are going to believe. Second, if the disclaimer says that movie is based on real historical characters, then Mr Bhansali is proving the point that Rani Padmavati existed. Biography of Alauddin was documented by a Persian historian Wassaf and it is one the few sources to learn about Khilji dynasty. Along with Wassaf, Amir Khusrau also has written about Alauddin Khilji. In the 12th century, Khusrau has documented that Alauddin treated the obedient Hindu zamindars kindly and granted more favours to them than they had expected. He also stated that all the insolent Hindus in the realm of Hind had died on the battlefield and the other Hindus had bowed their heads before Alauddin. The best way to get rid of such protests for the movies which are based on mythology or history, the director must get the script approved by Censor Board then start the production process. × Raja Rawal Singh did not bow his head and was defeated inadequately in the battlefield, though he fought bravely along with his commanders Gora and Badal, but died at the end, leaving behind his two wives and the empire. The wives, Rani Prabhavati and Rani Padmavati had no other option to save their pride and honour from the invaders through self-immolation (Jauhar). In my opinion, the best way to get rid of such protests around movies, which are based on mythology or history, is to get the script approved by the Censor Board then start the production process. To judge the movie after the release doesn't make any sense. Movies like Padmavati, which has gathered attention will do good business. If the director has made the film to earn profit then its ok otherwise if he is portraying Rajputana pride and honour then the movie must soothe the Rajput communities. (Disclaimer: The author writes here in a personal capacity).

Opinion: As a Rajput girl, I believe in Padmavati

<p><em>This excerpt is taken from the upcoming book, Padmavati: The Queen tells her own story.</em></p>

<p>&nbsp;</p>

<p><strong>About the book Padmavati</strong></p>

<p>Mrinalini Rao, a journalist, is visiting Chittorgarh to discover the truth about the existence of Queen Padmavati of Chittor. She meets a local girl who divulges a family secret. Eventually, Mrinalini uncovers an astounding story. Princess Padmavati of Singhaldweep was famous for her beauty as well as for her wisdom and integrity. When Rawal Ratan Singh of Chittor fell in love with her and brought her to Chittorgarh, the New Queen entered an unknown world rife with political intrigue. How she used her perception and prudence to navigate her way through these dangerous paths, survived assassination bids, escaped the claws of a lustful despot and yet left a legacy for posterity is what this novel, Padmavati brings to its readers. It is a tale told in the splendid cadences of a legendary queen who was larger than life. Nevertheless, it is a complete work of fiction narrated against the backdrop of historical events that took place in the 13th century.</p>

<p>&nbsp;</p>

<p>Excerpt 1</p>

<p>It had been raining steadily for two days. Stormy winds had twisted trees and felled massive branches. Filled with sloshing, muddy water, the deep trapezium-like shaft, spread over a thousand square yards and referred to as the Kund or sacrificial fire cavity, could not be used for the pyre. Yet, any further delay would be disastrous. The sand in the hourglass trickled down steadily and the enemy was hammering at the gates.</p>

<p>The subterranean cavern would have to do, she had said. Bullock carts loaded with bundles of hay, wood-chips and numerous pots of clarified butter began drawing up to the mouth of the dark underground tunnel. Men, whose tears mingled with the rain, carried grist and fuel for the conflagration into the centre of the wide cave.</p>

<p>The queens, along with their ladies, maids and young girls, bathed and attired themselves from head to toe in gorgeous garments, jewels and ornaments. Married women bedecked themselves in their crimson-and-gold wedding finery. Some women held baby girls in their arms who smiled beatifically, unaware of their fate.</p>

<p>After offering veneration to the deity and consuming a sacred meal that included a drink of whey and basil mildly laced with marijuana, the women began to approach the cavern. Men lined the path, hands folded, heads bowed in salutation to the satis. Husbands and brothers, fathers and sons, unmindful of the rain, were each searching for a beloved face.</p>

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<h5>In the enclosed space, the air was becoming scarce as the women surrounded a rude platform erected amidst mountains of hay and wood, liberally doused in clarified butter.</h5>
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<p>In the enclosed space, the air was becoming scarce as the women surrounded a rude platform erected amidst mountains of hay and wood, liberally doused in clarified butter. The temple priests, having completed the rituals, stood by, chanting verses from the Vedas. Everyone waited for the senior queen to lead, but she seemed to falter. The New Queen gently slipped past her and ascended the platform.</p>

<p>She sat down in the centre and folded her palms. Instead of closing her eyes, she looked ahead calmly. The other royal ladies clambered up to sit in a semicircle around her. Some had to be helped up by their maids; because they were infirm or they were trembling with terror. The girls, maids, noblewomen and their female attendants stood behind the seated ladies, facing the priests. The baby girls in their arms looked around curiously as if this was a new game.</p>

<p>The chief priest held up a flaming torch. Calling out, &lsquo;Jai! Ek Linghji Ki Jai!&rsquo; he lit the pyre.</p>

<p>Whoosh!! The hay, wood and butter sprang into a wavering pillar of fire. The priests ran pell-mell to the cave opening to escape the brute firestorm. The flames spread quickly, encircling the platform, sucking out whatever little air there was in the cave. The women clutched at their throats, desperate mouths agape.</p>

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<h5>Shrill screams echoing down the tunnel were abruptly choked off. Some mothers smothered their children to save them from the agony of burning.</h5>
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<p>Shrill screams echoing down the tunnel were abruptly choked off. Some mothers smothered their children to save them from the agony of burning. A few girl infants escaped the laps of mothers who were already alight. Tiny limbs spewing flames, they ran around, shrieking at their unexpected torment.</p>

<p>Other women clutching babies, young girls and maidens attempted to jump off the burning platform.Though they had voluntarily embraced the idea of grace through fire, their instinct for survival rejected the terrible death facing them. But their leaps for freedom landed them right into fiery, blazing, scarlet hands that enveloped them lovingly. Burning bodies rolled on the rocky floor, already dead. Orange and blue tongues licked greedily at human skin, making the royal ladies screech uncontrollably.&nbsp;Some jumped up, beating their burning garments with bare hands in vain.</p>

<p>Flames whirled around them until each became a separate bonfire reaching out to ignite more panicked women. All of it turned into an inferno of figures gyrating in agony. The roar of combustion growled within the cave, punctured by the hiss of sizzling skin and the sharp cracking of bones. A nauseous smell of burnt hair rose with clouds of thick grey smoke.</p>

<p>Once the pyre was burning merrily, the conflagration began to seek more air. Bellowing like an animal, the fire squeezed left and right through the narrow tunnel towards openings on both sides. The weeping men, still gathered just outside, were swept back as flames burst out of the tunnel.</p>

<p>In the centre of all the chaos, only one figure remained serene and motionless. As the gold, saffron and blue blaze made rings around her, rising higher and higher, slowly enclosing the New Queen, she was like a sculpture, absolutely still. Nothing seemed to touch her; not the torment, not the grief, not the fear. It defied all principles of logic.</p>

<p>Where did a girl find such strength, not garnered even by the meditation of ascetics, to tolerate the torture of being burnt alive? Her dark silhouette, in lotus pose, palms folded, was a sublime sight. When the great white heat reached the core, her body exploded in a shower of sparks. The tremendous blast ricocheted against the red, hot rocky walls sending horrific echoes floating out to the listeners.</p>

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<h5>For centuries to come, the supreme sacrifice of this legendary Queen of Chittor would attain a place of undying pride and honour in the hearts of all her country&rsquo;s people.</h5>
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<p>The jauhar took hardly a few minutes to extinguish Padmavati&rsquo;s living mortality but gifted her with indelible immortality; a significant niche in the history of India. Time could not dim her charisma nor age wither her stunning beauty. For centuries to come, the supreme sacrifice of this legendary Queen of Chittor would attain a place of undying pride and honour in the hearts of all her country&rsquo;s people.</p>

<p>Excerpt 2</p>

<p>Padmavati had hurried in her bathing because she wanted to be out of the place before Prabhavati&rsquo;s group completed their bath. As she came out of the Kund, she had noticed the huge basket of flowers guarded by two eunuchs on the top of the steps and idly wondered what it was for. If it is for the evening prayers, it should be at the temple and not here, she had thought, climbing the wet stairs.</p>

<p>The princess was about to put her foot down on the second step from the top, when she had happened to look down. She had given a loud gasp and instantly withdrawn her foot. Ambika who had been just behind her peered downwards and screamed. &lsquo;Snake! Snake!&rsquo; A thin, black reptile had been coiling and uncoiling on the wide stone step. It was a venomous krait. One bite from it was fatal and Padmavati had been about to step on it!</p>

<p>Ambika&rsquo;s screams had brought Koki running. With a stout stick, he had given a hard blow to the snake&rsquo;s shiny black head that splattered into a mush of flesh and blood. The princess, who had recovered by then, quickly skirted the dead reptile and climbed the last step. She was now safely on the platform. Her ladies had surrounded her and all of them walked up the slope to the temple.</p>

<p>They had spoken among themselves agitatedly; how had the reptile had slithered to this area, which was completely paved. There were no trees or snake holes nearby.</p>

<p>&lsquo;Almost as if somebody had brought the snake here,&rsquo; Ambika had remarked loudly. Her voice carried down the steps. Prabhavati&rsquo;s ladies had also risen from the Kund and were chattering excitedly about the incident. A deathly silence had fallen on everyone at Ambika&rsquo;s words. In one accord, as if the same idea had struck each one at the same time, all eyes had gone to the large basket of flowers.</p>

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<h5>Somebody had wanted to hurt Padmavati and hurt her seriously, even fatally. Who could be so malicious but her rival, Rani Prabhavati?</h5>
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<p>Had the snake been concealed in the basket? And brought here on purpose? If so, what was the purpose? The answer had been as clear as crystal. Somebody had wanted to hurt Padmavati and hurt her seriously, even fatally. Who could be so malicious but her rival, Rani Prabhavati?</p>

<p>Suddenly, the senior Rani had felt the heat of many pairs of speculative eyes on her. Instantly, she began climbing energetically towards the platform seeking escape through the passage, ordering her entourage to follow her. Padmavati had stared at her retreating back; quite sure that she was the culprit.</p>

<p>Yet, when Ambika had beseeched her to tell Ratan Singh about the incident, she refused, explaining, &lsquo;I have come here to be accepted as part of the Rawal&rsquo;s family, Ambika. Prabhavati didi is my senior. How can I complain about her, or even worse, accuse her?&rsquo;</p>

<p>Ambika had not been convinced. &lsquo;It is a matter of your safety. She tried to kill you.&rsquo;</p>

<p>&lsquo;No, my dear friend. We don&rsquo;t know for sure how the krait got there. We have no proof that Didi was responsible. Our suspicions may be wrong. And by complaining what will I get? I will only make the Rawal angry and alienate Prabhavati didi even more.&rsquo;</p>

<p>&lsquo;But she may make another attempt.&rsquo; Ambika&rsquo;s voice had cracked with fear.</p>

<p>&lsquo;No, Ambika. What have we learned in our land? If you give love and forgiveness, it will be returned double fold. Don&rsquo;t be afraid, my friend,&rsquo; Padmavati had said gently.</p>

<p>&lsquo;But these are not Singhas, Padmavati,&rsquo;Ambika had cried. &lsquo;You cannot trust them. Everyone has told me how spiteful Rani Prabhavati is.&rsquo;</p>

<p>But the princess would not be swayed.</p>

<p>&nbsp;</p>

<p>Disclaimer:&nbsp;<i>The author writes here in a personal capacity.&nbsp;</i></p>

<p>&nbsp;</p>

<p>&nbsp;</p>


The jauhar took hardly a few minutes to extinguish Padmavati?s living mortality but gifted her with indelible immortality; a significant niche in the history of India

This excerpt is taken from the upcoming book, Padmavati: The Queen tells her own story. About the book Padmavati Mrinalini Rao, a journalist, is visiting Chittorgarh to discover the truth about the existence of Queen Padmavati of Chittor. She meets a local girl who divulges a family secret. Eventually, Mrinalini uncovers an astounding story. Princess Padmavati of Singhaldweep was famous for her beauty as well as for her wisdom and integrity. When Rawal Ratan Singh of Chittor fell in love with her and brought her to Chittorgarh, the New Queen entered an unknown world rife with political intrigue. How she used her perception and prudence to navigate her way through these dangerous paths, survived assassination bids, escaped the claws of a lustful despot and yet left a legacy for posterity is what this novel, Padmavati brings to its readers. It is a tale told in the splendid cadences of a legendary queen who was larger than life. Nevertheless, it is a complete work of fiction narrated against the backdrop of historical events that took place in the 13th century. Excerpt 1 It had been raining steadily for two days. Stormy winds had twisted trees and felled massive branches. Filled with sloshing, muddy water, the deep trapezium-like shaft, spread over a thousand square yards and referred to as the Kund or sacrificial fire cavity, could not be used for the pyre. Yet, any further delay would be disastrous. The sand in the hourglass trickled down steadily and the enemy was hammering at the gates. The subterranean cavern would have to do, she had said. Bullock carts loaded with bundles of hay, wood-chips and numerous pots of clarified butter began drawing up to the mouth of the dark underground tunnel. Men, whose tears mingled with the rain, carried grist and fuel for the conflagration into the centre of the wide cave. The queens, along with their ladies, maids and young girls, bathed and attired themselves from head to toe in gorgeous garments, jewels and ornaments. Married women bedecked themselves in their crimson-and-gold wedding finery. Some women held baby girls in their arms who smiled beatifically, unaware of their fate. After offering veneration to the deity and consuming a sacred meal that included a drink of whey and basil mildly laced with marijuana, the women began to approach the cavern. Men lined the path, hands folded, heads bowed in salutation to the satis. Husbands and brothers, fathers and sons, unmindful of the rain, were each searching for a beloved face. In the enclosed space, the air was becoming scarce as the women surrounded a rude platform erected amidst mountains of hay and wood, liberally doused in clarified butter. × In the enclosed space, the air was becoming scarce as the women surrounded a rude platform erected amidst mountains of hay and wood, liberally doused in clarified butter. The temple priests, having completed the rituals, stood by, chanting verses from the Vedas. Everyone waited for the senior queen to lead, but she seemed to falter. The New Queen gently slipped past her and ascended the platform. She sat down in the centre and folded her palms. Instead of closing her eyes, she looked ahead calmly. The other royal ladies clambered up to sit in a semicircle around her. Some had to be helped up by their maids; because they were infirm or they were trembling with terror. The girls, maids, noblewomen and their female attendants stood behind the seated ladies, facing the priests. The baby girls in their arms looked around curiously as if this was a new game. The chief priest held up a flaming torch. Calling out, ‘Jai! Ek Linghji Ki Jai!’ he lit the pyre. Whoosh!! The hay, wood and butter sprang into a wavering pillar of fire. The priests ran pell-mell to the cave opening to escape the brute firestorm. The flames spread quickly, encircling the platform, sucking out whatever little air there was in the cave. The women clutched at their throats, desperate mouths agape. Shrill screams echoing down the tunnel were abruptly choked off. Some mothers smothered their children to save them from the agony of burning. × Shrill screams echoing down the tunnel were abruptly choked off. Some mothers smothered their children to save them from the agony of burning. A few girl infants escaped the laps of mothers who were already alight. Tiny limbs spewing flames, they ran around, shrieking at their unexpected torment. Other women clutching babies, young girls and maidens attempted to jump off the burning platform.Though they had voluntarily embraced the idea of grace through fire, their instinct for survival rejected the terrible death facing them. But their leaps for freedom landed them right into fiery, blazing, scarlet hands that enveloped them lovingly. Burning bodies rolled on the rocky floor, already dead. Orange and blue tongues licked greedily at human skin, making the royal ladies screech uncontrollably. Some jumped up, beating their burning garments with bare hands in vain. Flames whirled around them until each became a separate bonfire reaching out to ignite more panicked women. All of it turned into an inferno of figures gyrating in agony. The roar of combustion growled within the cave, punctured by the hiss of sizzling skin and the sharp cracking of bones. A nauseous smell of burnt hair rose with clouds of thick grey smoke. Once the pyre was burning merrily, the conflagration began to seek more air. Bellowing like an animal, the fire squeezed left and right through the narrow tunnel towards openings on both sides. The weeping men, still gathered just outside, were swept back as flames burst out of the tunnel. In the centre of all the chaos, only one figure remained serene and motionless. As the gold, saffron and blue blaze made rings around her, rising higher and higher, slowly enclosing the New Queen, she was like a sculpture, absolutely still. Nothing seemed to touch her; not the torment, not the grief, not the fear. It defied all principles of logic. Where did a girl find such strength, not garnered even by the meditation of ascetics, to tolerate the torture of being burnt alive? Her dark silhouette, in lotus pose, palms folded, was a sublime sight. When the great white heat reached the core, her body exploded in a shower of sparks. The tremendous blast ricocheted against the red, hot rocky walls sending horrific echoes floating out to the listeners. For centuries to come, the supreme sacrifice of this legendary Queen of Chittor would attain a place of undying pride and honour in the hearts of all her country’s people. × The jauhar took hardly a few minutes to extinguish Padmavati’s living mortality but gifted her with indelible immortality; a significant niche in the history of India. Time could not dim her charisma nor age wither her stunning beauty. For centuries to come, the supreme sacrifice of this legendary Queen of Chittor would attain a place of undying pride and honour in the hearts of all her country’s people. Excerpt 2 Padmavati had hurried in her bathing because she wanted to be out of the place before Prabhavati’s group completed their bath. As she came out of the Kund, she had noticed the huge basket of flowers guarded by two eunuchs on the top of the steps and idly wondered what it was for. If it is for the evening prayers, it should be at the temple and not here, she had thought, climbing the wet stairs. The princess was about to put her foot down on the second step from the top, when she had happened to look down. She had given a loud gasp and instantly withdrawn her foot. Ambika who had been just behind her peered downwards and screamed. ‘Snake! Snake!’ A thin, black reptile had been coiling and uncoiling on the wide stone step. It was a venomous krait. One bite from it was fatal and Padmavati had been about to step on it! Ambika’s screams had brought Koki running. With a stout stick, he had given a hard blow to the snake’s shiny black head that splattered into a mush of flesh and blood. The princess, who had recovered by then, quickly skirted the dead reptile and climbed the last step. She was now safely on the platform. Her ladies had surrounded her and all of them walked up the slope to the temple. They had spoken among themselves agitatedly; how had the reptile had slithered to this area, which was completely paved. There were no trees or snake holes nearby. ‘Almost as if somebody had brought the snake here,’ Ambika had remarked loudly. Her voice carried down the steps. Prabhavati’s ladies had also risen from the Kund and were chattering excitedly about the incident. A deathly silence had fallen on everyone at Ambika’s words. In one accord, as if the same idea had struck each one at the same time, all eyes had gone to the large basket of flowers. Somebody had wanted to hurt Padmavati and hurt her seriously, even fatally. Who could be so malicious but her rival, Rani Prabhavati? × Had the snake been concealed in the basket? And brought here on purpose? If so, what was the purpose? The answer had been as clear as crystal. Somebody had wanted to hurt Padmavati and hurt her seriously, even fatally. Who could be so malicious but her rival, Rani Prabhavati? Suddenly, the senior Rani had felt the heat of many pairs of speculative eyes on her. Instantly, she began climbing energetically towards the platform seeking escape through the passage, ordering her entourage to follow her. Padmavati had stared at her retreating back; quite sure that she was the culprit. Yet, when Ambika had beseeched her to tell Ratan Singh about the incident, she refused, explaining, ‘I have come here to be accepted as part of the Rawal’s family, Ambika. Prabhavati didi is my senior. How can I complain about her, or even worse, accuse her?’ Ambika had not been convinced. ‘It is a matter of your safety. She tried to kill you.’ ‘No, my dear friend. We don’t know for sure how the krait got there. We have no proof that Didi was responsible. Our suspicions may be wrong. And by complaining what will I get? I will only make the Rawal angry and alienate Prabhavati didi even more.’ ‘But she may make another attempt.’ Ambika’s voice had cracked with fear. ‘No, Ambika. What have we learned in our land? If you give love and forgiveness, it will be returned double fold. Don’t be afraid, my friend,’ Padmavati had said gently. ‘But these are not Singhas, Padmavati,’Ambika had cried. ‘You cannot trust them. Everyone has told me how spiteful Rani Prabhavati is.’ But the princess would not be swayed. Disclaimer: The author writes here in a personal capacity.

Opinion: Searching for Padmavati's voice

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