Padmavat — it’s a movie. Not much else.

I saw Padamvat in 3D in Mumbai just before we left for India on Feb 13. It was running like a normal movie. No protesters, no security, not sold out — 7.00 pm.

It’s a movie. It tries to entertain. The ultimate aims are fame and money. Looking for the sweet spot — the lowest common denominator in today’s Bollywood.

The movie is basically a series of mostly-implausible grand spectacles strung together with a skimpy story. Bhansali knows how to create these spectacles. A cast of thousands. Forts. Horses. The desert. What glorious clothes. Huge weapons.

This is the “story.” The Rajputs are the 100% certified, honourable good guys. Can do no wrong. And they do no wrong. The Rani is from Singhal (where ever that is) hunting deer with a bow and arrow, but snags the Raja of Mewar and marries him. Now, she is a Rajput.

The Muslims are the 100% certified, back-stabbing, evil ones. They are from Afghanistan. Greedy, gluttonous guys.

With outright treachery, the Muslim men defeat the Rajput men in battle.

Now, Rajput women in the fort have to fight for their honour. The evil Khilji will soon enter the fort to capture Padmavati. But, it’s their fort. And they manage to hold off the invaders so that they can go through the ritual to commit jauhar. Khilji’s men break down the massive gates, but he prefers to chase the women in the fort all by himself, sword in hand. But, it’s their fort, not his.

So, they win. And, the movie declares ‘Their actions still resonate throughout India.”

There’s not much to analyze or understand. It becomes tedious over time — far too long. And, if anyone should be offended, it is Khilji’s descendants — who ever they are. But, no. It’s a movie — not something to get excited about.

But, I am afraid, “thinkers” will think. Should we have defended Sanjay Leela Bhansali?

He has no hesitation in reinforcing stereotypes of women and of India’s biggest religious minority. If this is what his art expresses, does the constitutional guarantee of freedom to express cover him?

Well, duh. The Constitution says nothing about “reinforcing stereotypes.”

The right to freedom of expression teases us because it benefits a special group of people, such as writers and artists, who have the capacity to express themselves forcefully.

No, duh. It’s equally everyone’s right to hear every point of view.

Several reviewers of the film agree that it glorifies sati. It uses the latest technology of cinema aesthetics to present women as mere symbols of men’s honour. If these are medieval values, Bhansali’s film does not inspire us to question them. Rather, it legitimises the concept of honour and some of the most extreme claims that patriarchy makes on women’s physiology and thoughts. Having seen his earlier film, Bajirao Mastani, I can say with some confidence that Bhansali has no compunctions about using women as means of commercial success.

Oh, my! You have seen his earlier film Bajirao Mastani! That surely makes you an expert … And you beat my wife’s 85 year old Maharashtrian Bhuaji, who asked us to turn off the movie after 15 minutes, as she found it “useless.” But, wait, it gives you only “some” confidence …. unlike Bhuaji who was fully confident that she wold not waste her time seeing the movie — forget analyzing it.

Inspire? Bollywood movies? Inspire? No, dear — they try to entertain! Anyhow, do you remember this song from Jagriti 1955?

ये हैं अपना राजपूताना नाज़ इसे तलवारों पे इसने सारा जीवन काटा बरछी तीर कटारों पे ये प्रताप का वतन पला हैं आज़ादी के नारों पे

कूद पड़ी थी यहाँ हज़ारों पद्मिनियाँ अंगारों पे बोल रही है कण कण से कुरबानी राजस्थान की इस मिट्टी से तिलक करो ये धरती है बलिदान की

https://www.youtube.com/watch?v=4E09twioyfs

No one objected back then. The song was written by Pradip, a super patriot poet. It was and still is a huge success. And, the story of jauhar has been floating around Rajasthan — I remember from as a child in the late 1950s.

But, sorry — no women have yet committed jauhar in modern times. Instead, Rajasthani women are focused on getting educated and moving ahead. They don’t need inspiration from any movie — they to see them to enjoy and copy the dances in their functions and gatherings.

By now, they are probably on to the next movie … and so am I.