Col J P Singh
Sanjay Leela Bhansali and his film ‘Padmavati’ have created a pandemonium in the country. Several Rajput groups across India are vehemently opposing the release of ‘Padmavati’ alleging that it distorts Rajputana history, violates martial traditions and hurts their sentiments. The film has been in controversy ever since its shooting started a year ago. On the eve of its release, entire Rajasthan, where Rajputs are a prominent community, is witnessing protests which have the potential of spreading country wide and turning violent. Rajputs allege that the film depicts Rani Padmavati of Mewar in bad light. There are rumours of such scenes as her involvement with Muslim invader Ala-ud-din Khilji in intimate love in dream sequels. Protesters threatened director and actors, burnt their effigies, blocked entry to Kumbhalgarh and Chittorgarh Forts and are demanding editing of objectionable scenes. (Kumbhalgarh is the birth place of legendary Maharana Pratap of Rajputana). In Kota, Rajput women wearing turbans wielded swords in the streets and demanded ban on the film. Rajput Karni Sena, announced a country wide protest on 1st December which was the proposed date of its release. Akhil Bhatiya Amar Kshatriya Rajput Maha-sabha has also extended its support to the agitation. Various State Govts have banned its screening unless edited. Its ripples have reached Jammu also.
As the rumours about depiction of love scenes between Rani Padmavati and Khilji in dream sequels spread, tempers rose in Rajput community although nothing is clear whether the film has such objectionable scenes or not. It is also not clear whether the intention of the producer is to show the valour and martial traditions of Rajputs or beauty and valour of the Rajput queen(s) or to make a very romantic film on the life of very a beautiful and famous Rani for which a war was fought, Kingdom lost, create a controversy, get publicity and make enough money, a motive of any film maker.
Film makers claim that there are no objectionable scenes. On the contrary, they claim, it is a cinematic masterpiece depicting Rajput valour, dignity and martial traditions in its pristine glory. But are not prepared to show the film for verification. That creates doubts. Seeing the public reaction, film producer has deferred its release and Karni Sena has deferred 1st December protest. While the dictatorial and violent stance of Karni Sena is condemnable, distortions of historical facts by film makers, for which Bollywood, particularly Sanjay Bhansali, is notoriously known, is also objectionable.
Coming to the controversy of its what and why? It is about 14th century legendary Rani Padmavati of Chittor. Why! because it distorts the character of Rani Padmavati heard by generations through ‘Dadi-nani ki Kahanian’, ballads, folk songs and various local narrations/texts. Hence it becomes difficult for Rajputs to accept / tolerate a distorted version of their deity. The question before them is ‘what will the people think of Rajput Rani if she is portrayed badly’. The impression will go around the countrymen after seeing the film that Rajputs of Rajputana, the so called warriors, had been hiding their dark spots. When Bollywood, media and historians are seen raising questions on Rajputana heritage or for that matter on the very existence of legendary queen and her sacrifice under the guise of ‘freedom of expression and legality’ the protests are bound to occur.
The earliest mention of Rani Padmavati is found in Padmavat, the epic poem, written by Malik Muhammad Jayasi in 1540. As per his version Padmavati was an exceptionally beautiful princess of Singhal Kingdom (Srilanka). Rana Rattan Singh of Chittor heard of her exceptional beauty from a Parrot. He went to Singhal, married Padmavati and brought her to Chittor. Intrigued by the tales of beauty, wit and charm of Rani of Chittor, Ala-ud-din Khilji, the Sultan of Delhi, decided to verify it himself for which he surrounded Chittor, sent a message to Rana that he will lift the siege if he could meet the graceful Rani. Rajputs turned down his proposal but a compromise was finally reached. Sultan could see Padmavati’s reflection in the mirror if he came unarmed into the Fort. Accordingly, at the given hour, Sultan reached the fort and glimpsed the reflection of the beautiful Rani standing by a lotus pool. Courteously, the Rana came upto the outer gate to see him off when Sultan treacherously imprisoned him and demanded surrender of Rani Padmavati for his release. Rani accepted the condition. She played a clever trick on Khilji to get her husband released and to save her own honour. Khilji was told that Rani will come to his camp next day with her maidens. Early next day a long queue of Palanquins entered Khilji’s camp. Rani wished to meet her husband before coming over to him. Half an hour was granted for the meeting. At that time an armed band of Rajputs sprang from the Palanquins and fell upon Khilji’s army and freed Rana following which Khilji attacked Chittor. When its fall became imminent, Rani Padmavati alongwith 6000 Rajput women performed Jauhar (self immolation). Rana and the Rajputs died a heroic death fighting the invaders in the battlefield. Rani and other women saved their honour by offering themselves to the sacred fire, called Jauhar. Otherwise they would have fallen to the invader. This and other stories of Chittor, are one of the most stirring chapter in Indian history for it was there that fierce battles were fought by Rajputs for their honour and of their women. Story of Rani Padmavati is also the story of chivalry of Rajput men and women. It is here that the visitors see the mirror in which Khilji saw the Rani, the vast forts, palaces and ruins that are related to the saga of innumerable sieges, battles, heroism and deaths that is slowly becoming a myth with the passage of time. Sanjay Bhansali would have done a yeoman service had he intended to revive it. Moreover, the character of Rani Padmavati in the film is played by one of the most beautiful and romantic actor Deepika Padukone. That also raises doubts. Rani Padmavati is seen as symbol of valour and sacrifice in Rajasthan. Hence no romantic or derogatory scenes, distorted Jhumar dance with thumkas or Jauhar can be associated with such a Rajput queen even if it is acted by a versatile and popular heroine.
Patriotism, sacrifice, warriorhood and honour are the ideals of Rajputs. Mughals made use of it. It was due to the support of Rajputs that emperor Akbar laid the foundation of vast Mughal empire in India. Some Rajput nobles made matrimonial alliances with him for political reasons. But the Sisodia Rulers of Mewar didn’t engage in any matrimonial alliances with Mughals and thus stood apart from those Rajputs who did it. Maharana Pratap had successfully fought to thwart Akbar’s efforts to subdue Mewar. The history of Mewar has been written with the blood of Rana Kmbha, Rana Sanga and the Rajput warriors. That is why the Rajputs of Mewar are more conspicuously against the film. British also recognized their valour. James Todd, a British historian was impressed with military ethos of Rajputs. He was enamoured by their bravery and fighting skills and wrote about it in his book ‘Annals of Rajasthan’. British designated Rajputs as martial race, meaning that they are brave, well built, good fighters and trust worthy. After independence all the princely states ruled by Rajputs merged with the Indian Union. To our North, Rana Rajput dynasty of Nepal, which had migrated from Rajasthan, ruled Nepal from 1846 to 1951. The Dogra Rajput Raj ended in J&K in 1947. Having lost power, by and large the Rajputs are nostalgic of their past and keenly conscious of their genealogy. They cherish their ethos which are martial in spirit. They possess cherish pride in their lineage and traditions. Rajput women are generally conservative and follow the custom of Purdah. With this sort of heritage, intentional distortion of their past will be a great injustice to the community. Therefore film Padmavati should be shown to the select body of Rajput intellectuals, historians and social workers and their serious objections entertained.
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