Rani Padmavati is a legendary Rajput Hindu queen. Her story has been most recently bought to modern audiences by Sanjay Leela Bhansali, in his 2018 film ‘Padmaavat,’ which still remains one of the most expensive Indian films ever made. It tells the story of Rani Padmavati, and focuses on the war that her husband, Ratan Singh (Shahid Kapoor) becomes embroiled in with Muslim Sultan Alauddin Khiliji (Ranveer Singh).
In the film, Khiliji sets his sights on Rani Padmavati, played by Deepika Padukone, after hearing of her legendary beauty. Khiliji captures Singh, but in retaliation, Padmavati agrees to meet with Khiliji if she can see her husband first. He agrees, but instead of meeting Khiliji, she cunningly flees with Singh. Incensed by this, and consumed by his desire to claim Padmavati for his own, Khiliji goes to war with Singh, killing him in a duel. In order to ensure that Khiliji does not emerge victorious, and to protect herself and her honour, Padmavati leads 16,000 women to commit Jauhar – mass self-immolation to escape persecution or capture. It is this act, as well as her beauty, that has cemented her in legend. She is seen as an icon if chastity, and is generally seen as the ideal wife and woman.
The film is based on a Sufi poem written in 1540 by Malik Muhammad Jayasi, which has formed the basis of several different versions of the same story. Historian Ramya Sreenivasan notes that all versions influence each other. Jayasi’s version and the film are broadly similar although there are some details that are omitted. A particular favourite is the inclusion of Hiraman, Padmavati’s talking parrot. In the film, while hunting in Sinhala, modern day Sri Lanka, Padmavati meets Singh by accidentally shooting him with an arrow. In the poem, it is Hiraman that flies to Singh to tell him of Padmavati’s beauty – it is for this reason that he travels to Sinhala to find her. Another difference is the time at which Padmavati commits Jauhar. In the film she hears of her husband’s death, whereas in the poem she goes ahead with her plan once she is assured that defeat by Khiliji is imminent. Speaking of Khiliji, his portrayal in the poem, and his character in real life, varies to that of the film.
It is worth nothing that Singh and Khiliji are both historical figures, and Khiliji’s siege of Singh’s kingdom of Chittor in 1303 is well documented. In the film, Khiliji is greedy, adulterous and ruthless. His desire to possess Padmavati appears to stem from physical desire throughout the film. Historians such as Subimal Chandra Datta note that Khilji’s siege of Chittor was more likely for political gain, not desire for Padmavati. The desire present in the film directly contrasts Singh, Shahid Kapoor’s pious Hindu King. In the poem, and in real life, Khiliji was seen to be honourable and pious, and at the end of the poem is remorseful at the deaths of Singh and Padmavati, noting that man’s insatiable desire is destructive.
The Hindu/Muslim presence in the film is one reason that it caused such controversy. Due to Khiliji’s villainous portrayal, Muslims essentially saw the film as anti-Muslim, and Hindus disliked the idea of Padmavati being portrayed in film. Several Rajput organisations vandalised the set and attacked director Sanjay Leela Bhansali, who also received death threats along with Padukone. The release of the film was delayed, and the name changed from ‘Padmavati’ to ‘Padmaavat.’ Rajputs rejected the idea of having Padmavati involved romantically with Khiliji. No such scene existed, but the rumour caused such a furore that Bhansali released a statement dispelling it. Every character seemed to trigger some sort of political argument.
Back to the heart of the film – Padmavati. Unlike the two ment that fight for her, evidence that she actually existed is scarce. This makes her even more interesting, and powerful in the film. At first I felt that for the first half of the film she was side-lined, a lot of time was dedicated to both men and their feud. This speaks to the wider theme of the patriarchy, as despite her importance and legendary status, she is side-lined by man’s quarrels. It also speaks to the patriarchal nature of days gone by, and throughout the first half of the film Padmavati is not afforded much agency. This does turn when she springs Singh from imprisonment, although the focus then shifts to the duel between Singh and Khiliji.
Her final act is what cements her in legend, and where her power exceeds that of all around her. By committing Jauhar, she ensures that Khiliji’s victory is meaningless and although it costs her dearly, she, more than anyone emerges triumphant and ultimately has the last word. In the film, she leads all women into the frame. All the women wear red, seemingly mimicking the sea of blood spilt by Khiliji’s siege. Padmavati stands out in contrast in pink. He catches a glimpse of her walking into the flames, but is barred just before he can stop her. This only exacerbates the idea that he is obsessed with her, thus confirming her honour and piety.
In a rousing speech to the women, Padmavati states:
“Yeh shareer raakh ho jayega par Amar rahegi Rajputi Shaan, Hamara usool, Hamara swabhimaan, Aur Yahi Alauddin ri Jeevan Ri sabse badi haar hogi”
“This body will turn to ashes but the Rajput honour, our principals and our self-respect will remain intact and this will be the biggest defeat of Alauddin’s life”
She maintains that although they will suffer, their victory is assured in Alauddin’s defeat. It is this assurance that gives her strength. In the film she carries a white cloth with prints of her husband’s hands. This is interpreted as her husband’s permission, allowing her to commit such a grave sacrifice. While the story is epic, and Padmavati’s actions are nothing short of incredible, it does also comment on the history of India and the pain and atrocities that have occurred there. It speaks to the religious divide between Hindus and Muslims, all of which was worsened, especially for women, due to patriarchal ideas. Although it is Padmavati that has the final word, it is still the war waged between Alauddin and Ratan, for whatever reason, that led her into the fire, and by extension, into legend.
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