padmavati ending explained


While I agree with your basic take on the issue at hand, let me point out that patriarchy’s success does not depend on whether men are physically present or not. A familiar argument of colonial times given by ‘Barra Sahibs’, ‘Why discuss certain things in front of natives? 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. Once again, Ratan Singh has failed her. Which is not to condone him but to question what is this Padmavat myth all about? The one person who is slightly sensitive to the anti-Muslim bias told me simply, ‘They are not us.’ Which, again, is true. He becomes Bhishma fighting a valiant, powerful but ultimately not-as-skilled Arjuna in Khilji (what a SPECTACULAR role reversal), with Kafur standing in for Shikhandi who shoots a sheath of arrows at his back. I come back to this: there is a difference between depicting what happened, and glorifying it. She could have cut off her nose and disfigured herself and spread word about it! I had read that book at a second hand store. How did this Singhal princess get so quickly accustomed to Rajput values?

I presume he didn’t dare follow that line because sati would find much fewer apologists for it – the jauhar bit can at least have the “had to die before the enemy gets us”logic. 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. I think no one is denying that Jauhar is indeed a deeply problematic, horrifying practice. Whats not fair is some of the stuff they are saying. Brangan, I’m guess I’m confused by your argument that there is no glorification of Jauhar since it was a military strategy, an act of war if you will by a strong willed warrior princess. reminded me of Captain Haddock. Or for that matter the girl, Anita who couldn’t make it to Medical exams and committed suicide The scene didn’t really work for me. There is a scene in Far Pavillions, I think, where the girl is forced to do sati and as it starts, she is horrified and wants to move off and the villagers push her with a stick. There are scenes where she practices her skills.

Patriarchy does not mean imposed by men at the time the custom is carried out – it means a society bound by rules led down by men who view everything from the prism of being a man, for e.g. It is not just Indian history sources, even historypak.com has damning words for him. She rallies the women around to bravely hold off the Khiljis for as long as they can. Isamu Hirabayashi’s ‘Shell and Joint’, playing at Dharamsala, is a fascinatingly eccentric dissertation on life, death, shit, sex…, Readers Write In #288: The OTHER soundtrack of 1992, Halal Love Story on Amazon Prime Video: An entertaining mix of faith and filmmaking, Colour Photo on aha, with Suhas and Chandini Chowdary: A not-bad “love failure” story with truly inspired touches, Readers Write In #287: Thoughts on SRK- the Star, the Actor, My ‘Let’s Talk Art’ conversation with the folks of Bangalore Little Theatre, Readers Write In #285: An extremely intricate movie about life’s science, Readers Write In #284: Bereavements, a Memoir, David and Àlex Pastor’s ‘The Occupant’, on Netflix, is a solid psycho-thriller about a man who loses his job and decides to fight back, ‘Michael Madana Kama Rajan’ turns 30: A “critical” look at this beloved Kamal Haasan-Singeetham Srinivasa Rao-Crazy Mohan comedy, Readers Write In #283: Heavy Metal – The Intoxicant, Readers Write In #282: Crash Course in Tamil Short Fiction 101, Readers Write In #281: A tale of two GOATs, Putham Pudhu Kaalai on Amazon Prime Video: Some sharp moments in a mostly pleasant but generic anthology, Don Palathara’s ‘Shavam’, ‘Vith’ and ‘1956, Central Travancore’ are observational tracts filled with gorgeous “human landscapes”, Readers Write In #280: Book review of Svetlana Alexievich’s Second Hand Time (2013), Gaya Jiji’s ‘My Favourite Fabric’, on MUBI, is about a young Syrian woman who’s fighting her own war, My ‘kutty story’ interview on Littleshows, Readers Write In #279: My ‘Chiyaan’ Vikram story, Interview: Suhasini, Rajiv Menon, GVM, Sudha Kongara, Karthik Subbaraj (Putham Pudhu Kaalai, Amazon anthology), Varmaa on Simply South, with Dhruv Vikram and Megha: Bala’s completely uninvolving remake of Arjun Reddy, Readers Write In #278: The Catcher in the Rye, Interview: (IPL Special) R Ashwin on cinema, Vittorio De Sica’s Oscar-winning ‘The Garden of the Finzi-Continis’, about Italian Jews under the Fascists, turns 50 this year, Interview: Aishwarya Rajesh (Ka Pae Ranasingam), Nishabdham on Amazon Prime Video, with Anushka Shetty and Madhavan: A dreadful thriller, Ka Pae Ranasingam on Zee Plex, with Aishwarya Rajesh and Vijay Sethupathi: An impressive dramatic debut for director P Virumaandi, Readers Write In #277: First American Presidential Debate 2020 as Reality TV, My interview on therewillbetime (by Anirban B), Interview: Vetri Maaran, GVM, Sudha Kongara, Vignesh Shivn (Paava Kathaigal, Netflix anthology), Interview: Suresh Krissna recalls his journey with SPB, Interview: YG Mahendran, Kavithalaya Krishnan, Kalpana remember SPB, Readers Write In #276: The many shades of Krishna, Luis Estrada’s ‘The Perfect Dictatorship’, on Netflix, perfectly reflects our sensation-over-news era, Let’s begin with the scene where the peeping-Tom priest is brought before Ratan Singh. Change ). She thinks like a warrior. This story has been written from a self-evident ideological lens, one that reinforces regressive thought systems. Legends and myths, especially those told orally, are always modified, their essence re-interpreted, there is no one absolute version of it, just the most popular one, and each version reveals as much in ‘how’ it communicates the story as in what it leaves out and what it adds. The image of Jouhar has become an indelible identity for Rajputs and perhaps for many Indians who will hold on to this past of their ancestors that is fragmented and full of humiliation for an entire race. Yes, the story maybe of Padmini but it is also the story of war and its consequences. While, in this film, they do show the internal struggles that the Rajputs faced you are seeing the view from the Rajput perspective of a ruthless invader. In the movie’s context, I see parallels in the mass suicide and Operation Barbarossa of WW2. And we leave him after his back is pierced with arrows.) I don’t think Bhansali would do that to them and I think that is a good thing. I’m just not convinced you have to show it like that.

The film by Spielberg on the other hand took a giant step towards bringing in a closure by portraying a painful chapter of Jews with sensitivity, research and humility. That made it worse for her as she saw the upcoming massacre. From the credits, it appears that there were two other works involved. Padmavati was marooned on the island of Lacchmi, the daughter of the Ocean God.

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