Yes, of course, it was born out of a deeply patriarchal mindset where women were viewed as spoils of war by invading armies, and where their own society emphasized that this rite embodied honour and sacrifice. He commits blunders after blunders in the name of usool. If BR doesn’t mind: https://anuradhawarrier.blogspot.com/2011/05/ballad-of-fallen-warrior.html, (BR, please feel free to remove the link, and the previous sentence, if you don’t want links to other blogs here.). So when Queen Cersei is cloistered in a room with the other women and has an appointed man to behead them in case of defeat, we don’t bat an eyelid, as we know what are the possibilities are otherwise. This black and white portrayal is problematic on other levels as well. Jauhar was NOT Patriarchal imposition. A reason lost to the film makers of Bollywood and why they fail to achieve this goal that can bring in healing of a lifetime. What is my point here? I only hope that these changes takes us ahead, not backward in thought. A sequel to Padmavat could perhaps be made, though, to show Khilji’s efficiency as a monarch and his innovative administrative reforms. She thinks like a warrior. And also: Wouldn’t that even be artistically more demanding to try? Recall his canoodling with a random woman on his wedding night, and even murdering the person who spies him. The images existed then as an island of resistance in midst of brutalities by Mughals. I’m sure he means well, he’s always had strong women and it’s not like the men don’t have to suffer in his films either. As she heads to the jauhar, she has stationed (women) troops at the doors of the fort, to delay Khilji with torches and burning coals. My issue with Padmavat is that a myth that appears to have been designed to reinforce patriarchy has been resurrected. Foreign invasion in India. Post was not sent - check your email addresses! as an SLB movie, it was colorful and grand. Baradwaj: finally got around to putting my own thoughts about the film down and then went through these two posts and the dozens of very thoughtful comments (including the ones by Anu Warrier and my namesake Jai). So much so that, Padmavati, historical in nature it may be, says nothing about the times we live in (implicitly or explicitly) and it could well be a film made by 15th century folks with great technical skills. I think no one is denying that Jauhar is indeed a deeply problematic, horrifying practice. Nowhere while reading it I felt she was egoistic as a queen but the people of the fort loved her and she loved them back befitting a queen. And only just before entering the fire do we get a small smile on Padmavati’s face. a Princess of Sinhala(modern-day Sri Lanka) called Padmavati falls in love with an already married Maharawal Ratan Singh, King of Chittor. Or for that matter the girl, Anita who couldn’t make it to Medical exams and committed suicide In her article she said she wants to protect the battle of this beautiful queen from the most savage attacks she has faced, more savage than the attack on her honor by Allaudin Khilji, in her opinion which is the current one. It is perhaps the first right of the survivors and not that of media, intellectuals or even historians to define that reality for us and to say whether that pain has been addressed or not. Others definitely not so pragmatic, more concerned with tactics (not strategy) and with notions of honor and chivalry. She “defeated” Khilji. It is clear that this is a battle between Padmavati and Khilji and not between Khilji and Ratan Singh, as Ratan Singh (who still thinks that Padmavati needs to be protected and fought over by two men) claims before the climatic swordfight.

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