Padmaavat - Melodrama sans depth

It takes one arrow that she unknowingly pierces into Shahid Kapoor’s chest for Deepika Padukone to fall in love with him and become his second wife. Sadly, even after unending moments of staring into each other’s eyes post marriage, one fails to see any chemistry between Rani Padmavati and the prince of Chittod. Blame it on Sanjay Leela Bhansali’s half-baked characters, underdeveloped roles or just the wrong casting.

Padmaavat has been in the eye of a storm ever since the film was announced and more so after the trailer was out. The story of the queen committing jauhar (jumping into a fire) along with several other women rather than surrendering to Sultan Allauddin Khilji (essayed by Ranveer Singh) has been written about extensively. The film, therefore, hinged more on the depiction of the tale, rather than the story itself. Bhansali fails on both counts.

It takes almost an hour for him to introduce us to the characters and come to the actual plot. By the time comes the interval, you wonder if Deepika is indeed playing the titular role. She hardly has any screen presence, mouths fewer dialogues and does nothing that leaves an impact. All she does is walks around in fine clothes and jewellery, and looks into Shahid’s eyes as if to check if his lenses and kajal are in place. Shahid appears topless when he feels like and turns in royal clothes whenever he has to remind Deepika about the Rajput aan, baan and shaan (pride). It’s not even glorification; it’s an overdose. And the melodrama gets to you.

On the other hand, Ranveer has shown his venomous side and assumed the Khilji throne using all possible means. He’s, of course, over-acted a lot to repeatedly tell us that anything that is priceless is his. It therefore comes as no surprise that he decides to pursue Padmavati after a seer (who was shown the door by Shahid) tells him that she is the most beautiful woman one can come across but is also almost unattainable. It does not matter that he has not even seen her.

Ranveer heads to Chittod from Delhi and parks himself for days and months before Shahid grants him a meeting. Amid the announcement of a war, the Rajputs celebrate Diwali and Holi, and sing songs to portray to the enemy that they are undeterred by the threat. So much for strategy! What follows is a tale of betrayal, enmity and one-upmanship. Deepika has a little more to do in the second half but looks completely out of place. Shahid continues to talk about valour and honour, but is a misfit as the prince. He neither has the personality nor the power to pull off the role. Ranveer goes overboard – even breaks into a hideous and unnecessary dance – but comes across as the strongest character of the three because his is the meatiest part. However, despite his negative traits, he fails to scare you like a villain should. You know what he’s doing is wrong, but just can’t build up your hatred for him.

The music is ordinary except for Shreya Ghoshal's superb rendition of Ghoomar. Many of the songs are unwarranted. The sets and cinematography are good, but a film needs to have a lot more than that. Padmaavat lacks depth and the emotional connect; it drags on for too long and fails to leave a lasting impression. Neither of the characters stays with you after the movie is over.

If costumes and jewellery can conceal lack of acting talent, then the director does a fine job of doing that with the lead actress. This could well have been a sequel to Fashion. In fact, even Aditi Rao Hydari looks better than Deepika, especially in the scene where she meets the queen for the first time. She could well have played the lead role, but that would have probably led to more protests.

At best, Padmaavat is a one-time watch, like most Hindi films are. And it’s more a film about Khilji than the queen. Bhansali should be thankful to the controversy; it will help the film get more eyeballs than it deserves.

-         Kunal Purandare