Set in medieval Rajasthan, Queen Padmavati is married to a noble king and they live in a prosperous fortress with their subjects until an ambitious Sultan hears of Padmavati's beauty and forms an obsessive love for the Queen of Mewar.
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This fictional story is set in 13th century medieval India. a Princess of Sinhala(modern-day Sri Lanka) called Padmavati falls in love with an already married Maharawal Ratan Singh, King of Chittor. Upon their marriage, Padmavati is crowned queen, taking the place of the legal wife and queen consort of Ratan Singh and they reside together in joy and splendor. Their perfect life takes an unfortunate turn when a Court priest Chetan, banished by his king Ratan Singh, approaches Sultan of Delhi Allauddin Khilji and convinces him to attack Chittor and capture Padmavati for her beauty and absolute luck she brings to the king she marries. Sultan Allaudin Khilji, convinced by the priest of his claims and promises, prepares to attack Chittorgarh.Written by
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 fanpage of Sanjay Leela Bhansali Productions, that the woman is Maharawal Ratan Singh's first wife, Rani Nagmati, who is portrayed by Anupriya Goenka. See more »
It is a known fact that Rajputs and Hindu Rulers never used to attack or fight after sunset, they also never used to attack without letting the enemy know before starting attack. What is shown in the movie is completely wrong where King Ratan Singh is shown attacking the Enemy Alauddin Khilji while 1.Alauddin Khilji is sleeping 2.after sunset with burning arrows and burning enemy tents. See more »
An opulent yet flawed spectacle of an old wives' tale where Mr. Khilji takes the.. eh.. was about to say cake..!
Ironically, the movie is obsessed with Rajputana "Aan-Baan-Shaan" most of which got lost in protests.
Bhansali unabashedly depicts a stark contrast between 'righteous' Hindu and 'dastardly' Muslim warfare cultures, and due to deficiency of shades of grey the movie greatly suffers from lack-of-depth syndrome. However, Bhansali tries to make up for it with magnificent visual poetry and his typical OCDness in set design.
Unlike Rajamouli, Bhansali doesn't invent laws of motion. Instead, he rewrites Indian geography. Chittorgarh looks like Pushkar crossed with Asgard and Valhalla, and Delhi looks like Agrabah from Arabian Nights. Moreover, Khilji's march to Chittorgarh seems easier than commuting to Gurugram from Delhi.
Shahid's Ratansingh doesn't have to do much apart from showing his righteousness and sinewy torso. Had he been born in the British Raj, he would have played a princely cricketer who could contribute little with bat and ball but had the Wisden memorized by heart. Time for Shahid to return to Mr Bharadwaj.
Deepika's Padmaavati is adorned to such an extent that her jewelry would outweigh her hubby's chain-mail. She's the reason why men must take caution in watching this movie with their beloved as V-Day looms by. She manages to boil the pot in the first half but comes on her own in the second. Her chemistry with Shahid is lukewarm at best.
Ranveer's Khilji is the reason why we all watched Jurassic Park - to see the T-Rex. He gobbles up meat with the same intensity and dwarfs everything around. His narcissism, grandiosity and menacing grin can give Gabbar Singh an inferiority complex. Compound it with a beefed up physique, dark soulless eyes and sexual monstrosity which is way more intense than that of rapists depicted in 90s flicks. His moments with Malik Kafur are the best this movie has to offer.
Had Bhansali named this movie as "Khilji Ka Aatank", he could have had lesser problems with CBFC and Karni Sena.
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