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Padmaavat
Theatrical release poster
Directed bySanjay Leela Bhansali
Screenplay by
  • Sanjay Leela Bhansali
  • Prakash Kapadia
Based onPadmavat
by Malik Muhammad Jayasi[1]
Produced by
Starring
CinematographySudeep Chatterjee
Edited byRajesh G. Pandey
Music bySongs:
Sanjay Leela Bhansali
Score:
Sanchit Balhara
Production
company
Distributed byViacom18 Motion Pictures
Release date
  • 25 January 2018 (2018-01-25)[2]
Running time
163 minutes[3]
CountryIndia
LanguageHindi
Budget₹180–190 crore[4][5][6]
Box officeest. ₹572 crore[7]

Padmaavat is a 2018 Indian Hindi-language epic historical drama film directed by Sanjay Leela Bhansali. Based on the epic poem of the same name by Malik Muhammad Jayasi, it stars Deepika Padukone as Rani Padmavati, a Sinhalese-born Rajput queen known for her beauty, wife of Maharawal Ratan Singh, played by Shahid Kapoor. Sultan Alauddin Khilji, played by Ranveer Singh, hears of her beauty and attacks her kingdom to enslave her. Aditi Rao Hydari, Jim Sarbh, Raza Murad, and Anupriya Goenka are featured in supporting roles.[1][8]

With a production budget of ₹180 crore (US$26.32 million)–₹190 crore (US$27.78 million), Padmaavat is one of the most expensive Indian films ever made.[4][5][6] Initially scheduled for release on 1 December 2017, the film faced numerous controversies. Amid violent protests, its release was indefinitely delayed. The Central Board of Film Certification later approved the film with few changes, which includes the addition of multiple disclaimers and a change from its original title Padmavati.[9][10] It was rescheduled for release on 25 January 2018 in 2D, 3D and IMAX 3D formats, making it the first Indian film to be released in IMAX 3D.[11]

Upon release, Padmaavat received mixed-to-positive reviews from critics, with praise for the visuals, costume design, cinematography, screenplay, soundtrack, and performances, but criticism for its pacing, runtime, and adherence to regressive patriarchal mores.[12] Critics also disliked the portrayal of Khilji as a stereotypical evil Muslim king and Ratan Singh as the righteous Hindu king, which led to protests by the respective religious communities.[13][14][15][16][17][18][19] Despite not being released in some states of India, it grossed over ₹571.98 crore (US$68 million) at the box office, becoming a major commercial success and the third highest-grossing Indian film of 2018.[20][21]

At the 64th Filmfare Awards, Padmaavat received a leading 18 nominations, including Best Film, Best Director (both for Bhansali), Best Actress (Padukone) and Best Actor (Singh), and won 4, including Best Actor (Critics) (Singh) and Best Music Director (Bhansali).[22] It also won 3 National Film Awards, including Best Music Direction (Bhansali).[23]

Plot

[edit]

In 13th-century Afghanistan, Khilji ruler, Jalal-ud-din Khilji plans to take over the throne of Delhi. His nephew Alauddin Khilji[24] asks for Jalaluddin's daughter Mehrunisa's hand in marriage. Their wedding is organised, but on the night of the event, Alauddin engages in adultery with another woman. A senior courtier witnesses the act, Shareef Pasha, and is promptly killed by Alauddin. Mehrunisa is informed of this during the wedding, leaving her horrified. The wedding occurs, and Alauddin is appointed as a lead general in Jalalauddin's army.

In Singhal, princess Padmavati accidentally wounds the Rajputi ruler of Mewar, Maharawal Ratan Singh, while hunting in a forest. As she treats him, he reveals that he has traveled to Sinhala to acquire rare pearls for his only wife Nagmati. Eventually, the two bond and fall in love. Ratan Singh asks for Padmavati's hand in marriage, she agrees, and with permission from her father, they are married.

Jalaluddin takes over the throne of Delhi and sends Alauddin to repel a Mongol invasion. Alauddin is successful in doing so, but undertakes an unsanctioned raid on Devagiri. He captures the princess there, and makes her his concubine. Jalaluddin's wife and nephew, Itaat Khan, warns him against Alauddin's ambition to take over the throne. However, he journeys to Kara to meet Alauddin and gifts him the slave Malik Kafur. Alauddin has Jalalauddin's ministers assassinated by Malik Kafur, and Jalalauddin is killed by one of Alauddin's generals. Alauddin then returned to Delhi and declared himself the new Sultan. Over time, Alauddin and Kafur become very close, and Kafur rises to become a general in Alauddin's army.

Padmavati journeys to Mewar with Ratan Singh and is blessed by his royal priest, Raghav Chetan. Chetan later intrudes into the palace secretly and spies upon an intimate moment between Ratan and Padmavati, and is subsequently banished. He then travels to Delhi and informs Alauddin of Padmavati's beauty. Alauddin, who is fixated with having anything that is exceptional, invites the Rajputs to Delhi, but his invitation is rejected. Enraged, he lays siege to Ratan Singh's capital Chittor. After six months of an unsuccessful siege, Alauddin feigns peace on account of Holi and is allowed to enter Chittor, where he meets Ratan Singh. He asks to see Padmavati; Ratan Singh grants this request, but only momentarily while preventing Alauddin from seeing her face. Ratan Singh is tricked by Khilji and is taken to Delhi as a prisoner.

Upon Queen Nagmati's insistence, Padmavati agrees to see Alauddin under some conditions: she will meet Ratan first, there would be no male guardians during their meet and Chetan will be executed for his earlier treachery. Alauddin agrees; Padmavati then travels to Delhi to meet him. Meanwhile, Alauddin survives an assassination plot by his nephew, though he is wounded. When his nephew visits him recovering in bed to finish him off, Alauddin awakens and kills him. The Rajputs, disguised in women's dress, plan to ambush the Khilji soldiers in the morning, at the time for morning namāz. Padmavati, along with Chittor's generals, Gora and Badal, frees Ratan Singh, and escapes with Mehrunisa's help. Ratan confronts Alauddin, who urges Ratan to take this opportunity to kill him in his weakened state. However, Ratan refuses as this is against the Rajput creed of not attacking the wounded. The Rajput ambush goes ahead as planned, but the Khilji soldiers are alerted to it and repulse the attack, killing the Rajputs who allow the King and Queen to escape.

Alauddin imprisons Mehrunisa for helping the Rajputs and marches to Chittor. He and Ratan Singh engage in a single duel; Alauddin is wounded and drops his sword, Ratan is about to kill him when Kafur takes the opportunity to mortally wound Ratan while his back is turned with arrows. While dying, he berates Alauddin and his forces for fighting dishonorably. As Alauddin's army conquers Chittor, the Rajput women, led by Padmavati, commit Jauhar (mass suicide by immolation) to protect their honor and dignity from the invading army. The film concludes with Padmavati entering the fire with a faint smile, indicating her collective bravery, indomitable spirit and defiance against Alauddin, leaving him furious. Although Alauddin wins the battle, he is ultimately defeated in his pursuit of Padmavati.

Cast

[edit]

Production

[edit]

Development

[edit]

An adaptation of Malik Muhammad Jayasi's epic Padmavat (1540),[1] Sanjay Leela Bhansali had been planning a film adaptation for a decade.[43] He first worked on a television adaptation as an assistant editor for Shyam Benegal's television series Bharat Ek Khoj (1988), based on Jawaharlal Nehru's The Discovery of India (1946), featuring an episode about Padmaavat starring Om Puri as Alauddin Khilji.[44] In 2008, Bhansali produced an opera version in Paris, inspiring him to begin work on a film version.[43] Padmaavat also took inspiration from other earlier adaptations of the epic, including Bengali literary adaptations from Kshirode Prasad Vidyavinode in 1906 and Abanindranath Tagore in 1909,[45] the Tamil film Chittoor Rani Padmini (1963),[46][47] and the Hindi film Maharani Padmini (1964).[45]

Pre-production on the film began in July 2016. That same month, playback singer Shreya Ghoshal tweeted about performing a song composed by Bhansali for the film.[48] Many media outlets speculated that Deepika Padukone and Ranveer Singh, who played the leads in Bhansali's Goliyon Ki Raasleela Ram-Leela (2013) and Bajirao Mastani (2015), were finalised to play Rani Padmavati and Alauddin Khilji in the film. In October 2016, it was announced that Bhansali would team up with Viacom 18 Motion Pictures to produce the film with Singh and Padukone along with Shahid Kapoor as Rawal Ratan Singh, playing the lead roles.[49]

Casting

[edit]
The three main actors, Padukone (top), Kapoor (centre) and Singh (bottom).

Padmaavat is the third collaboration between Deepika Padukone and Ranveer Singh with Sanjay Leela Bhansali. The trio had worked before in Goliyon Ki Raasleela Ram-Leela (2013) and Bajirao Mastani (2015), while it is Kapoor's first film with the three.[50] Their co-star from the previous films, Priyanka Chopra was also in consideration to play the title role.[51]

Shah Rukh Khan was offered the role of Rawal Ratan Singh but felt it was not "meaty" enough and declined; failure to agree on his fee may have been a factor.[52] Bhansali offered the role to Sushant Singh Rajput, but he had to turn down the role over scheduling issues.[53][54] Shahid Kapoor was finally cast with an assurance of a good enough part and a hefty fee.[55] For his role, Kapoor undertook rigorous training under trainer Samir Jaura and followed a strict diet for 40 days. He also learnt sword fighting and the basics of Mardani khel, a weapon-based martial art, and admitted that it had been one of the most physically and emotionally challenging roles of his career.[56]

Ranveer Singh portrays the antagonist of the film, Alauddin Khilji, the first negative role of his career.[57] Director Bhansali had given him books to read delving into the psyche of dark rulers of history such as Adolf Hitler, asserting that he had to completely forget who he was before he could play Khilji.[58] Singh trained under Mustafa Ahmed to get into proper shape for the role. The actor worked out twice a day for six days a week.[59] Playing Khilji affected Singh's personality and behaviour such that he had to see a psychiatrist to return to normal.[60]

Jaya Bachchan recommended Aditi Rao Hydari's name to Bhansali for the role of Khilji's first wife, Mehrunisa.[29][61][62] Bhansali cast Hydari over four other choices.[63] She is the only member of the star cast who actually belongs to a royal lineage.[64]

Raza Murad portrays Alauddin's paternal uncle and Khilji dynasty founder, Sultan Jalaluddin Khilji. Murad has earlier collaborated with Bhansali in Goliyon Ki Rasleela Ram-Leela and Bajirao Mastani.[65] Jim Sarbh portrays Malik Kafur, a prominent eunuch slave-general of Alauddin Khilji.[66] Sarbh learned horse-riding for the role.[67]

On 25 October 2017, a video of the first song from the film, titled "Ghoomar", was released, in which a woman dressed like a queen appeared briefly. It was later revealed in a Twitter fan page of Sanjay Leela Bhansali Productions, that the woman is Maharawal Ratan Singh's first wife, Rani Nagmati, who is portrayed by Anupriya Goenka.[68]

Budget

[edit]

Due to the costs mounted on the film by delay in the release, Box Office India declared the film's budget to be ₹215 crore (US$31.44 million), which makes it the most expensive Hindi film and one of the most expensive Indian films ever made.[69][6]

Costumes

[edit]

Delhi-based Rimple and Harpreet Narula designed Rani Padmavati's costume using traditional Gota embroidery work of Rajasthan. The border derives from the architectural details of Rajasthani palace windows and jharokhas and the odhnis have been styled in conventional ways which are still prevalent in the Mewar belt of Rajasthan.[70] The designer duo elaborated that the costume worn by Padukone in the final scene of the film features the tree-of-life motif and twisted gota embroidery and has a Kota dupatta with block printing. Padukone's dresses were made with Sinhalese influences, as the character of Padmavati hailed from Sri Lanka.[71]

The costumes for Shahid Kapoor were made from mulmul and cotton, with special attention given to the turbans, one of which, featuring a 28-dye lehariya, was inspired by a turban to be found at the Victoria and Albert Museum in London.[72] The clothes for Ranveer Singh were based on travellers' accounts of the Turko-Persian influence on Indian clothing[73] (Khilji was of Turko-Afghan heritage).[26] The costumes for Aditi Rao Hydari, who plays Khilji's first wife Mehrunisa, incorporated Turkish, Afghan, Mongol and Ottoman elements to showcase Mehrunisa's Turkic origins.[74] For both Singh and Hydari's costumes, extensive research was done on the clothing and textiles of the Turkish belt, from Afghanistan and Khyber Pakhtunkhwa to Kazakhstan and to the Central Asian belt around Turkey.[74][75]

Padukone's look for the "Ghoomar" song features intricate jewellery weighing up to 3 kg (6.6 lb) designed by Tanishq featuring a triple Borla, Mathapatti and Bajuband which are traditional ornaments worn by Rajasthani women.[76]

Vipul Amar and Harsheen Arora of Delhi-based design house 'The V Renaissance' designed costumes for Rawal Ratan Singh and Alauddin Khilji, employing historical techniques to create the armour such as cuirboilli, sculpting, chiselling, and inlaying.[77] The armour took a team of forty workers a total of eight months to prepare.[78]

Music

[edit]
Main article: Padmaavat (soundtrack)

The score of Padmaavat is composed by Sanchit Balhara, while the songs are composed by Sanjay Leela Bhansali. A. M. Turaz and Siddharth-Garima wrote the lyrics to the songs. The first song "Ghoomar", to which Padukone performs the traditional Rajasthani folk dance on a set that replicates the interior of Chittorgarh Fort,[79][80] was released on 25 October 2017.[81] The second song from the film "Ek Dil Ek Jaan", a love ballad featuring Padukone and Kapoor, was released on 19 November.[82] The complete soundtrack was released by the record label T-Series[83] on 6 January 2018 in Hindi, and 12 January in Tamil and Telugu.[84]

Controversies

[edit]
See also: Hindutva boycott of Bollywood films

Padmaavat was mired in controversies during its production. Several Rajput caste organisations including Shri Rajput Karni Sena and its members had protested and later vandalised the film sets claiming that the film portrays Padmavati, a Rajput queen, in bad light. They had also assaulted Bhansali on a film set.[85][86] The Sena had made further threats of violence.[87] While filming a scene in Masai Plateau, Kolhapur at night in October 2017, some people attacked and set the set ablaze, injuring animals and destroying several costumes.[88] Several Muslim leaders protested against the alleged misrepresentation of Alauddin Khilji and called for a ban.[89][90] In the days leading up to the film's release, there were violent protests and riots in several parts of India.[91][92] In Haryana, the protestors had attacked several vehicles including a school bus.[93][94]

Bhansali and Deepika Padukone had received threats of violence and death.[95][96][97] The film makers received support from the film community and industry associations including the Indian Film & Television Directors' Association, Cine & TV Artists Association, Western India Cinematographers' Association, Association of Cine & Television Art Directors & Costume Designers.[98][99][100]

Major political parties across India took conflicting stands. Several members and leaders of the Bharatiya Janata Party called for a ban on the film. The Rajasthan State unit of the Indian National Congress had also called for a ban.[101][102]

The controversies surrounding the film re-opened the question of film censorship in India and the country's freedom of expression.[103][104] The Supreme Court dismissed a petition calling to stop the film's release citing the freedom of speech and expression.[105][106]

The film is banned in Malaysia by the Home Ministry due to its negative portrayal of a Muslim ruler and for touching sensitivities of Islam since Malaysia is predominantly a Muslim nation.[107]

Release

[edit]
During the launch of Padmaavat, there was heavy police presence deployed outside PVR Plaza, CP, New Delhi, as well as all cinema halls in the region (top). Note that no poster for Padmaavat was put up at PVR CP, as was the case reported across other cinema halls as well (bottom).[108][109][110]

The digital streaming rights of Padmaavat were sold to Amazon Prime Video for ₹200–250 million in August 2017.[111] Although it was reported theatrical distribution rights for all overseas territories were acquired by Paramount Pictures from Viacom18 in October 2017, Paramount later clarified that they would release the film only in the United Kingdom, Ireland, Australia, New Zealand and the Middle East.[112][113] Prime Focus Limited rendered the film in 3D.[114] The film was initially scheduled for theatrical release on 1 December 2017 in India, but was delayed due to protests.[115]

Padmavati was initially slated for release in the United Arab Emirates on 30 November 2017 and in the United Kingdom on 1 December 2017, but the makers stated that the film would not be released in foreign territories before receiving a certificate from the Central Board of Film Certification (CBFC).[116][117][118] In the end of December, CBFC approved the film for theatrical exhibition and suggested 5 modifications to the film, which includes the addition of multiple disclaimers and amending its title to Padmaavat.[9][10] The change in the title was intended to be a disclaimer that the film is not a historical drama, but a cinematic adaptation of Malik Muhammad Jayasi's epic poem Padmavat.[119]

The British Board of Film Classification (BBFC) passed the film with a (12A) rating and zero cuts.[120]

Post the CBFC approval with U/A certification, the film got banned by the Chief Ministers of four states Rajasthan, Gujarat, Madhya Pradesh and Haryana in order to maintain 'law and order' and avert protests in their states.[121][122] The Supreme Court of India over-ruled the ban, stating that freedom of speech is to be maintained and that the states have to ensure the screening of the film without any issues.[123][124][125] On 30 January 2018, Malaysia banned the film.[126]

Padmaavat premiered on television on 30 September 2018 on the Hindi general entertainment channels (GEC) Colors, Colors HD, and the Hindi movie channel Rishtey Cineplex.[127] The film was dubbed and released in Tamil, Telugu and Kannada languages under the same title.[128][129][130]

Reception

[edit]

Critical response

[edit]

On the review aggregator website Rotten Tomatoes, 55% of 29 critics' reviews are positive, with an average rating of 6/10.[131]. Metacritic, which uses a weighted average, assigned the film a score of 63 out of 100, based on 6 critics, indicating "generally favorable" reviews.[132]

India

[edit]

Padmaavat opened to mixed-to-positive critical reviews upon release.[133][134][135] Critics praised the visuals, screenplay, cinematography, and the performance of Singh, but criticized its execution, running time and the "unwanted" 3D conversion.[12]

Following its controversies, the makers held a pre-screening of Padmaavat in November 2017 for some journalists, including Arnab Goswami and Rajat Sharma, who praised the film and described it as "the greatest tribute to Rajput pride."[136][137] Rajat Sharma particularly praised Singh's performance as Khilji.[138]

Taran Adarsh of Bollywood Hungama gave 4.5 stars and said, "On the whole, Padmaavat is a remarkable motion picture experience that's backed by proficient direction, spellbinding screenwriting and superlative acting. For Bhansali, it's the best title on an impressive filmography."[139] Neil Soans of The Times of India gave 4 stars and said, "The director's expertise in heightening opulence and grandeur is well-known, further distinguishable in 3D. Cinematographer Sudeep Chatterjee compliments him by beautifully capturing some jaw-dropping scenery."[140] Rachit Gupta of Filmfare gave 3.5 stars and said, "the real wonder of Padmaavat comes from its production and presentation. This film has phenomenal production design, costumes and camera work. The technical finesse on display is just mind boggling."[141] Rajeev Masand of News18 gave 3.5 stars, praising Singh's performance.[142]

Kunal Guha of Mumbai Mirror gave 3.5 stars, but criticised Padukone and Kapoor's performances.[143] Giving 3.5 stars, Sushant Mehta of India Today panned Padukone and Kapoor's performances, calling them "mediocre", while terming Singh's "unconvincing".[144]

Anupama Chopra of Film Companion gave the film 2.5 out of 5 stars and said, "I clinically admired each frame. I applauded the work of cinematographer Sudeep Chatterjee, costume designers Harpreet-Rimple, Maxima Basu, Chandrakant & Ajay, and production designers Subrata Chakraborty and Amit Ray. But I wasn't seduced by the storytelling."[145] Shubhra Gupta of The Indian Express gave 2.5 stars and said, "Padmaavat is spectacular [to look]: no one can do spectacle like Bhansali. You can easily delight in it while the going is good. But nearly three hours of it, and looping rhetoric around what constitutes Rajput valour can, and does, become tiresome."[146] Mayur Sanap of Deccan Chronicle criticised the execution and the length and gave 2.5 stars.[147] Suparna Sharma, also of Deccan Chronicle gave 2.5 stars and said, "Padmaavat is offensively chauvinistic, blatantly right-wing, and quite unabashedly anti-Muslim".[19]

Raja Sen of NDTV India gave 1.5 stars and said, "Bhansali takes an unbearable length of time to spark the flame. Things go on and on and on, with characters it is impossible to care about. They may appear attractive from time to time, certainly, but these protagonists are inconsistent, infuriating and test the patience."[148]

Rediff.com also gave 1.5 stars calling it "superficial" and wrote, "Padukone gets an absolute raw deal as the Queen; her performance is submissively overwrought, blandly weighted, and her speeches combined with the leisureliness of the narrative's pacing, can put you in a stupor. Worst of all, you will be driven by the suspicion if Padukone even does enough to deserve the movie's title."[149] Namrata Joshi of The Hindu gave a negative review noting the film is "a yawn fest" and "an interminable expanse of unadulterated dullness". She also criticised the 3D conversion writing, "The opulence doesn't seem as awe-inspiring, the special effects, especially in some of the battle scenes, are plain tacky and the actors seem like cardboard dolls of themselves in the long shots, acquiring a human visage only in the extreme".[150] Anna M. M. Vetticad of Firstpost criticised the film giving 1 star out of 5 writing "Padmaavat is a perfect example of a Hindi film couching its extreme prejudices in grandiloquence and tacky clichés, with those clichés embedded in resplendent frames."[15]

Overseas

[edit]

Mike McCahill of The Guardian gave 4 stars and said, "It's not just the extravagance that catches the eye, but the precision with which it is applied. Every twirl of every sari and every arrow in every battle appears to have been guided by the hands of angels. Such excess could have proved deadening, but dynamic deployment of old-school star power keeps almost all its scenes alive with internal tensions."[151] Shilpa Jamkhandikar published a mixed review in Reuters, who noted, "But unlike Bhansali's earlier films, where he was able to find emotional depth even in opulent historical romances, this one falls short." However, she praised Singh's performance as Khilji.[152] Manjusha Radhakrishnan of Gulf News opined that the quality of the work was lower than that in other Bhansali films.[153] Sadaf Haider of DAWN Images said that the film is "a flawed history lesson", however, she praised the film visual, music and most of the act.[154] Rahul Aijaz of The Express Tribune rated 4.5 out of 5 stars; he too praised the film and said that it "doesn't set up false expectations and then disappoint" due to "perfect storytelling", and "memorable performances".[155] A Pakistani critic, Haroon Khalid, had disliked the portrayal of Khilji as a stereotypical evil Muslim king and Ratan Singh as the righteous Hindu king.[156]

Box office

[edit]

Due to the numerous controversies associated with Padmaavat prior to its release which resulted in banning the film in certain states, the film's commercial performance was highly unpredictable.[157] The film was released in only 70% of places in India.[158] However, despite limited screenings, the film earned an estimated ₹5 crore (US$731,106.38) in Wednesday paid previews.[159] The following day, the film opened nationwide across 4,800 screens of which over 500 screens were shown in Tamil and Telugu.[160][161] It earned an estimated ₹19 crore (US$2.78 million) nett on its opening day in India, excluding previews, which was considered impressive despite its ban in numerous big states and marked a career-best opening for Kapoor, Singh and Bhansali, and fourth biggest for Padukone (behind Happy New Year, Chennai Express and Yeh Jawaani Hai Deewani).[162][163][164][non-primary source needed][165] On Friday, the film added another ₹32 crore (US$4.68 million), owing to national holiday on Republic Day.[166] This was followed by a gradual fall on Saturday taking in another ₹27 crore (US$3.95 million).[167][168] Through Sunday, the film delivered an opening weekend of ₹114 crore (US$16.67 million) and became the fourteenth film to enter the 100 crore club in just under 4 days.[169][170][non-primary source needed] Furthermore, it broke the record for the biggest IMAX opening in India with US$461,000 from 12 screens.[171] However, due to its limited screenings, the film nevertheless lost over ₹35 crore (US$5.12 million) in box office receipts during its opening weekend.[172]

Outside India, the film broke all-time opening day records in Australia (A$367,984), surpassing the likes of Dangal and the dubbed-Hindi version of Baahubali 2: The Conclusion.[157][173] One of the reason behind the film's successful run in the country was because Paramount (the overseas distributing company) was able to secure release in all three major theatre chains (Hoyts, Event Cinemas and Village Cinemas) unlike other Bollywood films which have to choose between the two latter.[174] In the United States and Canada, the film grossed $1.13 million on its opening day. This was followed by the biggest ever single-day for a Hindi film with $1.8 million on Saturday, breaking the previous record held by PK ($1.41 million).[175][176] Although Baahubali 2: The Conclusion still holds the record for all Indian films, that is inclusive of three different languages.[177] It went on to set a new opening weekend record for a Hindi film with $4.2 million, and witnessed the second best per-theatre-average inside the top 10 with $13,188 from 324 theatres.[171][178] As of 6 February 2018, the film has crossed ₹4 billion (US$47 million) worldwide, making it one of the top 10 highest-grossing Bollywood films of all time.[179] Its domestic net income was ₹2.75 billion (US$33 million) in the fourth weekend of its run.[20] The film has grossed ₹5.85 billion (US$69 million) worldwide.[180]

Historical inaccuracies

[edit]

In the film, the Delhi Sultanate's flag is shown in black colour with a white crescent moon. The Sultanate actually had a green flag with a black band running vertically on the left.[181] Most historians believe little evidence exists for Padmavati in real life.[182] And, in the original Padmavat poem written by Malik Muhammad Jayasi, Khilji never had a direct confrontation with Raja Ratansen.[183]

It was shown in the film that, Malik Kafur was gifted as a slave to Alauddin Khalji, while he was actually captured by Alauddin's army general Nusrat Khan Jalesari, during the 1299 invasion of Gujarat,[184] and converted to Islam[185]

Portrayal of Jalaluddin and Alauddin Khilji

[edit]

Before their ascension to the throne, Jalaluddin and Alauddin Khilji were known as Malik Firuz and Ali Gurshasp, respectively.[181][186]

Jalaluddin Khilji is portrayed as an arrogant, cunning and cruel man, though he was actually popular for being a mild-mannered, humble, and pious ruler.[181][187] Jalaluddin ascended the throne of Delhi in 1290 only to end the chaos that ensued after the death of Sultan Ghiyas ud din Balban.[188] He was not ambitious by nature and did not lead an attack on the Delhi Sultanate from Ghazni, Afghanistan.[189]

The portrayal of Alauddin Khilji in the film has been criticised by historians and critics for its historical and geographical inaccuracies and not staying faithful to the epic Padmavat.[15][188][190][191][192][181] The film shows an unsuccessful assassination plot by Alauddin's nephew, one which seriously injures the Sultan, but none of this actually happened.[186] Historian Rana Safvi wrote that Khilji was sophisticated, not barbarian as portrayed in the film.[189][193] Historian Mohammed Safiullah also criticised Khilji's portrayal and the implicit depiction of a homosexual relationship between Khilji and his slave-general Malik Kafur.[194] Historian Archana Ojha of Delhi University criticised Alauddin Khilji's look and clothing in the film.[195]

Accolades

[edit]
Main article: List of accolades received by Padmaavat

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Padmaavat

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from Grokipedia
is a 2018 Indian Hindi-language epic period drama film directed and produced by Sanjay Leela Bhansali under his Bhansali Productions banner, loosely inspired by the 16th-century Sufi allegorical poem Padmavat written by Malik Muhammad Jayasi. The film stars Deepika Padukone as the Rajput queen Padmavati, Shahid Kapoor as her husband Maharawal Ratan Singh of Chittor, and Ranveer Singh as the Delhi Sultan Alauddin Khilji, portraying a fictionalized account of Khilji's obsessive invasion of the Chittor kingdom driven by rumors of Padmavati's beauty, culminating in the queen's act of jauhar to preserve her honor. Set against opulent visuals and grand musical sequences characteristic of Bhansali's style, the narrative emphasizes themes of valor, loyalty, and sacrifice in medieval Indian royalty. Despite pre-release hurdles including violent protests and threats from Rajput activist groups like , who alleged the film distorted historical facts and insulted community pride by including a depicting Khilji beholding Padmavati, Padmaavat received approval with modifications and a title alteration to avoid direct historical claims. The controversy, which involved set vandalism, effigy burnings, and calls for bans in several states, highlighted tensions over cultural representation but did not prevent a nationwide release on 25 January 2018. Commercially, Padmaavat emerged as a blockbuster, collecting approximately ₹302 nett in and ₹585 worldwide, making it one of the highest-grossing Hindi films of 2018 despite bans in parts of , , and . It garnered critical acclaim for its technical achievements, including costumes, , and Ranveer Singh's portrayal of Khilji, while facing mixed reviews on historical liberties and pacing. The film won three National Film Awards: Best Music Direction for Bhansali, Best Male Playback Singer for ("Binte Dil"), and Best Choreography for "".

Synopsis

Plot Summary

In 13th-century Delhi, Alauddin Khilji murders his uncle Sultan Jalaluddin Khilji and usurps the throne, establishing a reign marked by conquest and tyranny. Meanwhile, in the kingdom of Chittor, Rawal Ratan Singh, already married to Queen , travels to Sinhala (modern-day ) for a diplomatic mission and encounters Princess Padmavati during a hunt; she wounds him with an arrow, mistaking him for prey, leading to their marriage after she tends his injury. Ratan Singh brings Padmavati back to Chittor, where she integrates into the royal household amid initial tensions with . A scheming Jain , Raghav Chetan, banished from Chittor after attempting to seduce Padmavati, flees to and inflames Alauddin's desire by describing her unparalleled beauty, likening it to heavenly houris. Obsessed, Alauddin—already wed to Mehrunissa—launches a against Chittor, besieging the fort after initial demands for Padmavati are rebuffed. In battle, Ratan Singh captures Alauddin's general but later accepts a deceptive truce invitation, resulting in his ; Padmavati orchestrates his by disguising warriors as palanquin bearers. Enraged by the humiliation, Alauddin mounts a full-scale on Chittor, exploiting internal alliances like with Kumbhalmer's Devpal. As defeat becomes inevitable, Padmavati rallies the women of the fort to perform , collectively self-immolating in flames to preserve their honor from capture. Ratan Singh leads a final but perishes in combat, leaving Alauddin to conquer an emptied fortress, his obsession unfulfilled. The narrative culminates in tragedy, underscored by a fictional in which Alauddin envisions Padmavati's allure, fueling his relentless pursuit amid themes of valor and .

Literary and Historical Foundations

Source Material in Jayasi's Padmavat

Padmavat is an epic poem composed in 1540 by , a Sufi poet from in present-day , written in the Awadhi dialect of . As a in the Persian poetic tradition adapted to Indian vernaculars, it employs a structure of rhymed couplets to unfold its story, prioritizing symbolic depth over literal events. Jayasi framed Padmavat as a Sufi illustrating the soul's pursuit of divine love, where human figures represent metaphysical concepts rather than historical personages. Composed approximately 224 years after Alauddin Khilji's death in 1316, the poem draws loosely on medieval motifs of and devotion but fabricates its central narrative for didactic purposes, eschewing verifiable chronology or eyewitness accounts. This symbolic intent aligns with Sufi literature's use of parables to convey inner spiritual realities, such as the trials of attachment and detachment, to audiences spanning Hindu and Muslim communities in the Gangetic plains. Key allegorical elements include the parrot Hiramani, a serving as to Padmavati and messenger who reveals her beauty to Ratansen, embodying the role of a spiritual guide bridging worldly and transcendent realms. Padmavati's unparalleled allure symbolizes , Ratansen's devotion the seeker's yearning, and Alauddin's obsessive conquest the ego's disruptive force, while internal moral struggles—such as Ratansen's temptations and ethical quandaries—depict the Sufi journey of self-purification amid worldly lures. These motifs underscore Padmavat's function as a tool for ethical and mystical edification, not a factual .

Connections to Medieval Events and Figures

Alauddin Khalji, ruler of the from 1296 to 1316, conducted military campaigns aimed at territorial consolidation and revenue extraction from kingdoms in , including the of in 1303. Contemporary Persian chronicler , who accompanied Khalji's forces, documented the eight-month ending in the fort's capture on 26 August 1303, attributing the campaign to strategic imperatives such as suppressing local rebellions and securing tribute rather than personal motives. Khusrau's account describes intense resistance from defenders but makes no reference to a queen named Padmavati or lust-driven invasion, focusing instead on logistical challenges like ineffective siege engines against the fort's walls and the subsequent massacre of approximately 30,000 inhabitants. The historical ruler of during this period was of the Guhila dynasty's Rawal branch, who governed from around 1302 and faced defeat as part of the Sultanate's broader expansion into to control trade routes and agricultural yields. Rajput chronicles and later inscriptions confirm 's role in regional resistance, but primary Sultanate sources portray him as a ruler whose non-compliance prompted the assault, with no corroboration of internal betrayals or romantic rivalries depicted in Jayasi's poem. This event exemplifies the Delhi Sultanate's pattern of fort sieges against Hindu polities, yielding economic gains like land revenue reforms under Khalji but lacking evidence for the poem's interpersonal dramas. No contemporary records substantiate the existence of Rani Padmavati, with her earliest depiction appearing in Malik Muhammad Jayasi's 1540 Sufi allegorical poem , over two centuries after the siege; historians classify her as a legendary figure amalgamating motifs rather than a verifiable historical personage. Similarly, while mass self-immolations known as occurred during multiple sieges—including corroborated instances in 1303 and later under subsequent rulers—primary accounts tie them to defensive desperation amid conquest, not to a specific queen's agency or a singular event romanticized in the narrative. Khalji's forces reportedly encountered widespread resistance culminating in collective suicides among women, as noted in Persian histories, but evidentiary gaps persist due to the oral transmission of traditions versus Sultanate emphases on military logistics.

Production Process

Development and Conceptualization

Sanjay Leela Bhansali developed Padmaavat as a cinematic adaptation of Malik Muhammad Jayasi's 16th-century Sufi epic poem Padmavat, focusing on its allegorical exploration of themes including romantic love, royal valor, and sacrificial honor. Bhansali's conceptualization stemmed from a longstanding personal fascination with the narrative, which he first encountered in childhood and staged as a theatrical production in 2008. The project emphasized poetic symbolism over literal events, with Bhansali scripting the film himself to prioritize emotional intensity and mythic grandeur rather than empirical historical reconstruction. Influenced by his earlier period dramas such as (2015), which blended historical figures with heightened dramatic elements of warfare and devotion, Bhansali envisioned Padmaavat through a lens of operatic visuals and character-driven spectacle to evoke the epic's Sufi undertones of inner conflict and transcendence. Pre-production creative decisions centered on amplifying the poem's fantastical motifs, such as dream visions and symbolic battles, while de-emphasizing verifiable chronology; this approach involved minimal early engagement with academic historians, as Bhansali favored artistic liberty to interpret Jayasi's allegorical framework as a timeless moral tale. Initial hurdles in adaptation arose from the source material's blend of folklore and contested medieval lore, prompting a title shift from Padmavati—evoking the central figure's historicity—to Padmaavat in December 2017, as recommended by the to underscore the film's basis in Jayasi's fictional poetry rather than documented events. This adjustment clarified the conceptualization's intent to avoid claims of biographical accuracy, allowing Bhansali to proceed with scripting that integrated song-dance sequences and stylized confrontations as narrative extensions of the epic's verse structure.

Casting Decisions

Deepika Padukone was cast as Rani Padmavati, the Sinhalese-born queen, due to her established screen presence in roles demanding elegance and resilience, aligning with the character's portrayal as a figure of unyielding dignity. , the director, had previously collaborated with Padukone on films like (2013) and (2015), where her command of period aesthetics influenced the decision. Earlier considerations included for the lead, but the role shifted to Padukone as production progressed. Ranveer Singh was selected as Sultan Alauddin Khilji to embody the conqueror's obsessive ferocity, with the actor undergoing rigorous physical preparation to enhance the character's menacing intensity. Singh trained under fitness expert Mustafa Ahmed, working out twice daily for six days a week, which included weight training and dietary restrictions to achieve a lean, predatory physique; this process reportedly strained his mental and physical health, mirroring the role's demanding psychological depth. He was not the initial choice for Khilji, as Bhansali explored other actors before finalizing Singh in mid-2016. Shahid Kapoor was chosen for Maharawal Ratan Singh, the Rajput ruler of Chittor, to represent the archetype of a noble warrior-king bound by honor and duty, a departure from Kapoor's typical contemporary roles. The casting emphasized Singh's ability to convey understated valor amid narrative constraints on the character, with auditions considering alternatives like Vicky Kaushal and Prabhas before settling on Kapoor by mid-2016. In supporting roles, was cast as , Khilji's eunuch slave-general, for his capacity to depict a layered providing strategic counsel and loyalty, auditioning without prior script access to capture raw nuance. Sarbh prepared by learning horse-riding to suit the character's battlefield presence, enhancing the dynamic interplay with Singh's Khilji. Other considerations, such as for Padmavati, were rejected due to script concerns over the role's development. The principal cast was locked by mid-2016, allowing pre-production to advance amid evolving creative visions.

Filming Locations and Techniques

Principal photography for Padmaavat commenced in November 2016 and continued until October 2017, encompassing location shoots in and extensive studio work in . Early filming occurred at in , , where sets were established to depict medieval , but production faced immediate disruption in January 2017 when members of the Shri Karni Sena vandalized equipment and halted shooting. Following the incident, the crew relocated significant portions to 's Film City, where a large-scale Rajasthani fort-palace set was constructed to replicate interiors and exteriors, facilitating approximately 90% of the film's sequences including palace scenes. Additional outdoor filming took place at Masai Plateau near , , for landscape and battle exteriors, though this site was targeted in October 2017 when protesters set parts of the set ablaze, injuring animals and damaging props. Cinematographer employed wide-angle lenses and layered compositions—incorporating foreground elements, midground action, and expansive backgrounds—to convey the grandeur of sieges and fortress defenses, with minimal camera movement to maintain a static, epic framing reminiscent of historical tableaux. Dramatic lighting techniques, such as flickering torchlight simulated with practical flames, enhanced the visual intensity of night sequences, including the scene, which was ultimately filmed on sets after locations proved unfeasible due to security concerns. Battle sequences, depicting large-scale warfare, were primarily executed on constructed sets in to control choreography involving thousands of extras and period weaponry, supplemented by for crowd augmentation, siege mechanics, and the fiery ritual. VFX work focused on digital intermediates for seamless integration of practical elements with enhancements like from burning tires (used for atmospheric haze in the jauhar sequence) and extended fire effects, with finalization aligning with the extended timeline ending in late 2017. Production adapted to logistical hurdles by scheduling daytime interiors at night to mitigate Rajasthan's harsh weather, though no major delays from monsoons were reported beyond protest-related interruptions. The film was prepared for release in 3D and formats via post-conversion rather than native IMAX capture, marking it as the first Indian production to utilize IMAX 3D distribution for its panoramic war depictions.

Budget Allocation and Financial Hurdles

The production of Padmaavat entailed a reported budget of ₹180 to ₹190 , encompassing expenditures on elaborate sets, extensive , and high for principal cast members including , , and . This positioned the film among India's costliest cinematic endeavors, reflecting Sanjay Leela Bhansali's signature scale in historical epics. Financing was led by Bhansali Productions, with Motion Pictures committing to substantial funding, initially pegged at around ₹170 through a collaborative arrangement that included equity and debt components. covered approximately half the costs from internal resources, with the balance sourced via loans, underscoring the high financial risk borne by distributors in backing such ambitious projects. Budget escalations occurred amid production challenges, with director indicating a need for up to ₹200 to accommodate expanded requirements during filming. Delays stemming from on-set disruptions and pre-release controversies further strained resources, as prolonged timelines inflated overheads without corresponding revenue until certification and rollout. These pressures highlighted the economic vulnerabilities of large-scale Bollywood productions to external interruptions, though contingency measures mitigated total overruns beyond the revised estimate.

Artistic Elements

Music Composition and Soundtrack

The soundtrack for Padmaavat was composed by director , who handled the music direction, with primary lyrics by and additional contributions from Siddharth-Garima. The album features six original songs blending Rajasthani folk traditions with classical and fusion elements, incorporating instruments and vocal styles such as to evoke the medieval and poetic essence of the source material. Key tracks were released individually starting in late 2017 to precede the film's rollout. "Ghoomar," a rendition of the traditional Rajasthani form, was unveiled on October 25, 2017, and performed by and , with Turaz contributing additional verses. "Ek Dil Ek Jaan," released on November 10, 2017, features lead vocals by alongside qawwali performers Mujtaba Aziz Naza, Kunal Pandit, and Farhan Sabri, fusing devotional and romantic motifs through layered percussion and string arrangements. "Holi," drawing from Manganiyar and Langa , includes vocals by Richa Sharma and emphasizes rhythmic claps and folk instrumentation to depict festive sequences. Other compositions include "Khalibali," sung by , , and , which integrates upbeat fusion rhythms; "Binte Dil" by , highlighting melodic introspection; and "Nainowale Ne" by . The full soundtrack album was issued by T-Series on January 6, 2018, following the staggered single releases that aligned with promotional timelines.

Cinematography, Costumes, and Sets

The cinematography of Padmaavat, handled by , emphasized dramatic lighting and wide-angle lenses to convey epic scale and intricate details, drawing inspiration from miniature paintings and historical texts such as B.N. Goswamy's works. Flickering flame lights simulated the absence of widespread in 14th-century settings, while low-level eye lights created shadowed, menacing effects for Alauddin Khilji's scenes, contrasting with softer illumination elsewhere. Minimal camera movement prioritized layered establishing shots with foreground, midground, and deep background elements, capturing three distinct visual worlds—Chittor, Khilji's domains, and Singhal—through long shots that highlighted period authenticity over dynamic motion. A muted color palette was employed, with reds toned down in via digital intermediates to balance dramatic intensity, evoking Rajasthan's architectural grace in Chittor's romantic sequences while using darker tones for Khilji's rugged environments. Costumes were designed by Rimple and Harpreet Narula, who conducted eight to ten months of research involving museum visits to authentically fuse elements with period influences, resulting in approximately 150 looks for the four principal characters crafted by a team of 400 artisans across . Outfits incorporated traditional techniques like block-printing from Sanganer and regions, with some prints featuring up to 24 colors, and materials such as mulmul and for royalty to reflect lightweight, breathable fabrics suited to the climate. Heavy embellishments, including ornate lehengas and turbans with techniques like 28-dye lehariya patterns, underscored opulence while adhering to historical motifs verified against artifacts. Sets, overseen by production designers Subrata Chakraborty and , recreated medieval aesthetics over three months using references from remnants, 16th-century paintings, and ancient texts, as on-location filming in proved infeasible due to logistical constraints. Key structures like the Chittor palace emphasized Rajasthani architectural features such as projecting jharokhas and majestic chambers with mirror effects for grandeur, contrasting graceful, light-filled spaces against darker, Afghan-influenced forts for Khilji. Period accuracy extended to jewelry, with crafting pieces reinterpreting Rajasthani motifs in gold—totaling around 400 kilograms—to evoke 14th-century splendor, cross-checked against historical designs for authenticity.

Controversies

Rajput Protests and Violence

On January 27, 2017, members of the stormed the set of Padmaavat (then titled Padmavati) at in , , where they assaulted director by slapping and roughing him up, and vandalized equipment including attempting to strangle him with a and damaging cameras. The group claimed the film distorted historical facts by including a depicting romance between Padmavati and Alauddin Khilji, which they viewed as an affront to honor. Protests escalated in November 2017, with Karni Sena issuing threats against actress Deepika Padukone, who portrayed Padmavati, including vows to chop off her nose as a form of public humiliation, citing the alleged dream sequence as a misrepresentation of the queen's chastity. Separately, on November 22, 2017, BJP leader Suraj Pal Amu announced a Rs 10 crore bounty for anyone beheading Padukone and Bhansali, amplifying the climate of intimidation amid claims of historical distortion. Karni Sena demanded the film's ban, removal of the dream sequence, adherence to historical fidelity regarding Padmavati's portrayal, and access for review by the Central Board of Film Certification (CBFC) prior to release. By early 2018, protests spread nationwide, drawing thousands of participants in states including Rajasthan and Gujarat, with police reports documenting large gatherings such as in Gandhinagar and Surat where Rajput groups rallied against the film's release. Violence intensified ahead of the January 25, 2018, release, including arson attacks on buses and vehicles in Gujarat—such as mobs torching dozens of motorcycles and a Haryana Roadways bus near Bhondsi—and effigy burnings of Bhansali in Rajasthan, alongside road blockades and cinema vandalism. In Ahmedabad and other areas, dissenting groups unleashed arson and property damage, prompting police to detain dozens and fire in the air to disperse crowds, with over 35 cases filed across seven states related to the unrest. Several BJP-ruled states, including , , , and , imposed pre-release bans on Padmaavat in January 2018, citing anticipated law and order disruptions despite certification by the (CBFC). These decisions reflected local governmental assertions of authority over public order under (2) of the Indian , prioritizing potential unrest over central certification processes. The film's producers, , petitioned the on January 17, 2018, challenging the state bans as violations of and expression guaranteed under (1)(a). On January 18, 2018, the stayed the bans, upholding the CBFC's clearance and directing all states to allow screenings without interference, emphasizing that anticipated breaches of peace could not justify overriding certified artistic expression absent imminent threats. This ruling contrasted the central government's reliance on the CBFC's apolitical certification with state-level interventions, highlighting federal tensions in cultural policy enforcement. Subsequent petitions from state governments, such as and , sought review of the post the January 18 order, arguing persistent risks to communal harmony. The Court maintained its stance, refusing to defer to subjective public order apprehensions without evidence of direct incitement, thereby reinforcing judicial oversight over executive restrictions. Karni Sena-backed complaints, including against director for allegedly distorting historical sentiments, invoked sections of the on promoting enmity but did not result in production halts or revocations.

Diverse Viewpoints on Cultural Representation

Supporters of Padmaavat have praised the film as a tribute to Rajput valor and resilience in the face of historical invasions, emphasizing its portrayal of Rani Padmavati's defiance and the collective jauhar as symbols of unyielding honor and cultural preservation. Director Sanjay Leela Bhansali described the work as his homage to Rajput "honour, valour and vigour," aligning with narratives of resistance against aggressors like Alauddin Khilji. Rajput cultural advocates echoed this, viewing the depiction of Chittor's defense and self-immolation as a celebration of martial and moral fortitude rather than historical literalism. Critics from Muslim advocacy perspectives have accused the film of fostering anti-Muslim sentiment through its characterization of Khilji as a barbaric, lust-driven invader, arguing this reinforces stereotypes of Islamic rulers as inherently violent despite the historical record of Khilji's documented conquests and massacres, such as the 1299 of Ranthambore. Such portrayals, they contend, prioritize nationalist binaries over nuanced depictions of medieval power dynamics, potentially exacerbating communal tensions in contemporary . These claims, often voiced in outlets with editorial leans toward minority advocacy, contrast with the film's basis in Jayasi's poem, which allegorically frames conflict within spiritual quests rather than ethnic antagonism. On gender representation, feminist commentators have condemned the film's jauhar sequence as glorifying patriarchal , portraying women's mass immolation not as coerced desperation but as an exalted ideal of purity and , which they argue perpetuates notions that female honor equates to death over violation. In defense, others frame as a voluntary act of agency and resistance in eras of unchecked , rejecting modern impositions of as anachronistic to 14th-century contexts where it averted enslavement and for survivors. This divide highlights tensions between historical contextualization and contemporary ethics, with proponents noting the women's initiative in the ritual as emblematic of collective resolve rather than subjugation. Interpretations diverging from the source material, Malik Muhammad Jayasi's 1540 Sufi epic , have drawn scrutiny from scholars attuned to its mystical harmony, where Hindu-Muslim interactions symbolize divine union rather than conquest; the film's amplified drama, they argue, shifts this to overt conflict, undermining the poem's syncretic ethos penned by a Chishti Sufi poet. Audience surveys reflect polarized yet predominantly favorable urban reception, with 81% of metropolitan respondents in a December 2017 poll intending to view the film despite disputes, prioritizing its artistic spectacle over fidelity to history or . Post-release feedback from cities like and indicated strong approval for its visual and performative elements, with viewers questioning the pre-release furor and attendance figures climbing to 60-70% in early shows, signaling a preference for cinematic interpretation amid cultural debates.

Release and Distribution

Certification Delays and Modifications

The producers submitted Padmaavat (initially titled Padmavati) to the (CBFC) in November 2017 for review. Initial objections focused on elements including violent depictions and the dream sequence featuring Alauddin Khilji and Padmavati, prompting the CBFC to recommend modifications to address perceived sensitivities in historical representation and cultural practices. CBFC chief clarified that the board mandated no footage cuts but required five specific modifications, including a title alteration to Padmavat (later stylized as Padmaavat) to align with the 16th-century fictional epic poem by , thereby distancing the film from claims of historical fidelity. Additional changes involved revising disclaimers to explicitly state the film's fictional nature, avoiding endorsement of historical events, and disclaiming any glorification of Sati or , with adjustments to scenes depicting the Jauhar sequence and traditional Rajasthani elements like to ensure contextual clarity. Director and producers engaged in consultations with the CBFC, incorporating the suggested alterations following internal reviews and appeals to expedite clearance. On December 30, 2017, the CBFC announced its decision to issue a U/A certificate upon compliance, which the producers confirmed accepting by early January 2018, enabling final certification. This process contrasted with Bhansali's prior films like (2013) and (2015), which encountered thematic controversies but secured certifications without comparable demands for title changes or multiple disclaimer revisions.

Initial Theatrical Rollout

Padmaavat was released theatrically across India on 25 January 2018, coinciding with Republic Day, after the Supreme Court overturned state-level bans and permitted nationwide screening. The distribution was handled by Viacom18 Motion Pictures domestically, with the film made available in Hindi alongside dubbed versions in Tamil, Telugu, and other regional languages to expand accessibility. Internationally, it premiered simultaneously in multiple countries including the United Arab Emirates, Australia, Germany, and Spain. The rollout occurred under heightened security measures, with heavy police deployment in protest-prone regions such as and to counter threats from groups like . Several cinema owners voluntarily opted not to screen the film in states including and due to fears of violence, while authorities in other areas enforced screenings with additional protection. Immediately following the release, incidents of unrest persisted, including stone-pelting at a multiplex in , , and attacks on cinema owners in the state, underscoring ongoing tensions despite judicial interventions.

2025 Anniversary Re-release

In January 2025, producers announced the re-release of Padmaavat to commemorate its seventh anniversary, initially scheduling screenings for January 24 before postponing to February 6 in select Indian theaters. Box office trackers reported minimal audience turnout, with the film collecting approximately ₹10 on its and failing to exceed ₹1 in the initial days, marking it as a commercial underperformer compared to other recent Bollywood re-releases like . The re-release aligned with a broader trend of reviving classic Indian films for anniversary screenings, where Padmaavat's visual grandeur and musical elements retained niche appeal among fans, who praised its production design and emotional resonance online, even as overall interest appeared subdued post its original controversies.

Reception and Impact

Critical Evaluations

Critics offered mixed evaluations of Padmaavat, with an aggregate score of 53% on based on international and select domestic reviews, highlighting technical achievements amid narrative shortcomings. Reviewers frequently praised the film's visual grandeur, including elaborate sets, costumes, and crafted by director , which evoked a sense of medieval opulence despite occasional clumsy CGI effects. Ranveer Singh's portrayal of Alauddin Khilji drew particular acclaim for its intensity and physical transformation, positioning him as a commanding that overshadowed other elements in sequences of confrontation and madness. Overseas critics appreciated the spectacle as a stirring epic, with The Guardian describing it as a "gloriously stirring spectacle" rooted in Bollywood's operatic tradition, though some questioned its accessibility without cultural familiarity, noting dense historical and thematic minefields. In contrast, domestic Indian reviews revealed ideological divides: outlets aligned with patriotic narratives lauded Bhansali's direction for evoking valor and thematic depth in loyalty and resistance, while left-leaning publications like The Hindu and critiqued the melodrama, repetitive tropes of honor-bound , and portrayal of Khilji as a , attributing these to Islamophobic stereotypes that perpetuate communal biases. Such criticisms often reflected broader institutional tendencies in mainstream Indian media to prioritize progressive sensitivities over empirical assessment of the film's fictionalized source material from Malik Muhammad Jayasi's 16th-century epic poem. Flaws in thematic execution were commonly cited, including an overreliance on exaggerated emotionalism and lack of character depth beyond archetypal roles, rendering the narrative predictable and insipid despite its lavish production values. Critics like those in The Globe and Mail argued that the film's endorsement of jauhar (collective self-immolation) as heroic carried a dangerous message, reinforcing regressive gender norms under the guise of historical reverence, while others faulted Bhansali for prioritizing visual excess over substantive storytelling. Overall, evaluations emphasized the film's prowess in spectacle and performance as redeeming qualities, yet underscored persistent issues with melodramatic excess and interpretive liberties that diluted its artistic coherence.

Box Office and Commercial Success

Padmaavat grossed approximately ₹285 in India nett collections, marking it as the second-highest grossing domestically in , behind Sanju's ₹334 . Worldwide, the film earned between ₹545 and ₹585 , including strong overseas performance totaling around ₹160-185 . These figures were achieved against a reported of ₹180-215 , yielding a substantial through theatrical earnings alone. The film's opening day worldwide collection reached ₹114 , bolstered by public curiosity amid ongoing controversies and bans in several states, which limited but did not prevent a robust initial rollout. Domestic nett opening stood at around ₹19 , with previews adding ₹5 , leading to a first weekend haul of over ₹110 in India. Subsequent weeks saw sustained performance, with collections dropping but stabilizing due to word-of-mouth praise for the visual spectacle and action sequences, enabling recovery of distributor advances estimated at ₹200 or more. Ancillary revenues further amplified profitability, including digital rights sold to for ₹20-25 prior to release and satellite rights contributing significantly post-theatrical, though exact figures for the latter remain undisclosed in trade reports. Overall, the film's financial metrics underscored its status as a blockbuster, with theatrical and non-theatrical income exceeding costs by a wide margin despite delays and regional restrictions.

Audience and Cultural Resonance

Audience reactions to Padmaavat were markedly polarized along cultural and regional lines following its , release. Members of communities, including some who had previously protested the film, expressed pride in the depiction of the scene, interpreting it as a respectful portrayal of historical valor, sacrifice, and communal honor that elevated their heritage. One viewer described the effort as "excellent" for glorifying culture through its visual and narrative emphasis on defiance against invasion. In opposition, urban and cosmopolitan viewers frequently characterized the pre-release protests by groups like as regressive attempts to impose orthodoxy on artistic expression, arguing that such actions stifled creative freedom and ignored the film's fictionalized adaptation from Malik Muhammad Jayasi's 16th-century epic poem. Social media platforms intensified these divisions, with memes ridiculing protester threats—such as vows to self-immolate or vandalize theaters—contrasting against earnest defenses of the film's grandeur, thereby heightening public discourse and paradoxically enhancing its cultural visibility. Debates proliferated on heritage films' role in evoking national pride versus perpetuating mythologized narratives, as audiences grappled with the tension between entertainment spectacle and perceived historical reverence; post-screening feedback often highlighted approval for the film's opulent production design and musical sequences as compensating for narrative liberties. The portrayal of Padmavati sparked gender-specific discussions on female agency, particularly regarding her decision to commit jauhar as an assertion of autonomy in thwarting conquest or as a symbol of enforced patriarchal sacrifice tied to notions of purity and honor. Online forums and critiques revealed split sentiments, with some defending the scene as empowering resistance against subjugation, while others, including feminist commentators, condemned it for romanticizing mass self-immolation and reinforcing gender hierarchies that prioritize collective honor over individual survival. These exchanges contributed to broader societal ripples, prompting reflections on how cinematic depictions of historical femininity intersect with contemporary views on women's choices amid cultural conservatism.

Analysis and Legacy

Historical Accuracy Assessments

The siege of Chittor in 1303 by Alauddin Khilji, as depicted in Padmaavat, deviates from historical records in attributing the attack primarily to Khilji's infatuation with Rani Padmavati after glimpsing her reflection. Contemporary accounts, including those by Khilji's court poet , emphasize imperial expansion, suppression of autonomy, and control over Mewar's silver and zinc mines as the core motivations, with no reference to a queen's beauty or a deceptive mirror viewing precipitating the campaign. The figure of Padmavati herself first appears in Malik Muhammad Jayasi's 1540 , a Sufi allegorical poem composed over two centuries later, which frames the narrative as a spiritual metaphor for divine love rather than factual chronicle, underscoring the absence of for her existence or role in fourteenth-century events. Khilji's age during the siege further highlights dramatic license: historical estimates place him at about 37 years old in 1303, based on his documented activities in prior campaigns like Ranthambore in 1301, rather than the film's portrayal of a perpetually vigorous but contextually timeless untethered from biographical timelines. The ensuing sequence, showing Padmavati leading thousands of women in mass , amplifies legendary scale beyond verifiable bounds; while Khusrau records a post-surrender of approximately 30,000 Hindu defenders, female suicides amid defeat are noted in later traditions but lack quantified contemporary corroboration or attribution to a singular royal figure, with the event's ritualistic nature rooted in defensive desperation against enslavement rather than scripted heroism. Elements of accuracy include the fort's imposing defenses, encompassing a 700-acre hilltop complex with multiple gates and water reservoirs that prolonged resistance for eight months from to 1303, necessitating Khilji's reliance on and attrition over swift assault. Khilji's deployment of a massive army—estimated at tens of thousands—mirrors tactics outlined in Ziauddin Barani's Tarikh-i-Firuz Shahi, which details his systematic sieges through numerical superiority, supply disruption, and engineered breaches, reflecting pragmatic military realism over the film's romanticized personal vendetta. Despite in-film disclaimers affirming its legendary basis, these embellishments prioritize narrative causality from poetic fiction, sidelining records where geopolitical consolidation, not erotic obsession, propelled Khilji's Mewar incursion.

Symbolic Interpretations and Debates

Interpretations of Padmaavat often frame Queen Padmavati's jauhar (self-immolation) as a symbolic act of preserving dharma—righteous order and honor—against the adharma of tyrannical conquest, exemplified by Alauddin Khilji's obsessive invasion driven by lust and imperial ambition. This reading aligns with traditional valor narratives emphasizing sacrifice to safeguard cultural integrity, portraying her choice as an ultimate assertion of agency over subjugation rather than passive victimhood. Such motifs resonate in right-leaning discourses that celebrate Rajput resistance as emblematic of enduring moral fortitude against expansionist aggression. Critics from feminist and left-leaning perspectives, however, contend that the film's depiction endorses patriarchal structures by glorifying collective female as the pinnacle of honor, thereby reinforcing norms that prioritize and communal purity over individual autonomy. They argue this valorization of perpetuates retrogressive customs, framing women's bodies as battlegrounds for male-defined honor rather than sites of empowerment, and draw parallels to modern honor-based violence. Khilji's portrayal as a debauched, ruthless conqueror symbolizes the unbridled brutality of medieval Sultanate expansions, with motifs of unchecked desire clashing against fortified ideals of restraint and loyalty. Accusations of Islamophobia arise from this characterization, viewing it as perpetuating stereotypes of Muslim rulers as barbaric invaders amid contemporary Hindu nationalist sentiments, yet proponents note that the source poem by Sufi poet employs allegorical Sufi tolerance, blending spiritual longing with historical romance without inherent religious antagonism. Debates on cinematic center on balancing artistic truth—fidelity to the poem's symbolic essence of inner and devotion—with demands for historical , as seen in protests questioning deviations that amplify dramatic motifs over the original's mystical undertones. Similar epic adaptations, such as those of the , illustrate this tension empirically: while artistic embellishments enhance thematic resonance (e.g., moral dichotomies of versus ), they invite scrutiny when perceived to prioritize spectacle over source subtlety, as evidenced by recurring challenges in Indian period films since the .

Awards, Accolades, and Enduring Influence

Padmaavat secured three accolades at the in 2019, including Best Music Direction for , Best Male Playback Singer for Arijit Singh's rendition of "Binte Dil," and Best Choreography for Kruti Mahesh Midya and Jyoti Tomar on the song "." At the in 2019, the film garnered four wins among 18 nominations: (Critics) for Ranveer Singh's portrayal of Alauddin Khilji, Best Music Director for Bhansali, and Best Female Playback Singer for Shreya Ghoshal on "Ghoomar," alongside recognition for contributions that enhanced its epic scale. The 20th International Indian Film Academy (IIFA) Awards in 2019 awarded Padmaavat in multiple categories, including for Singh, Best Choreography for "," and technical honors for by , reflecting its broad technical and performative excellence across over a dozen nominations. The film's legacy has shaped subsequent period dramas in Indian cinema by elevating benchmarks for visual opulence and production values, while its pre-release controversies prompted greater scrutiny and modifications in historical adaptations to mitigate cultural sensitivities. It reinforced cultural iconography, particularly the figure of , amid ongoing debates on identity and heritage representation in media. The 2025 re-release on February 6, marking the seventh anniversary, highlighted the enduring appeal of its and over evolving narrative tastes, drawing audiences for its spectacle rather than contemporary relevance.

References

  1. https://www.thequint.com/entertainment/malik-muhammad-jayasi-poet-of-padmavat
  2. https://www.rottentomatoes.com/m/padmaavat
  3. https://www.theguardian.com/film/2018/jan/25/padmaavat-review-sanjay-leela-bhansali-deepika-padukone-shahid-kapoor
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