#Playboy in Chittor

[rahulhunter12]

Chittoor Play Boy Jobs

Embarking on the journey to becoming a playboy in Chittoor is an exhilarating endeavor filled with opportunities for personal and professional growth. By following these steps and embracing the values of integrity, excellence, and sophistication.

[alekhyahanumanthu]

Reviewing the movie “Padmaavat”

Historical fiction is defined as movies and novels in which a story is made up but is set in the past and sometimes borrows true characteristics of the time period in which it is set. The movie “Padmaavat” is a work of historical fiction based on events leading up to ‘Jauhar’ in 13th century and derives from the 16th century epic penned by Malik Muhammad Jayasi.

The movie is based on the barbaric zeal of Allauddin Khilji to own or occupy anything “nayab” (Nayab (Persian: نایاب‎) is a female given name of Persian origin, meaning “rare, unique”) under the sun which made him wage a war on Chittor for being denied even a glimpse of Rani Padmavati, the second wife of Chittor  Rajput king Maha Rawal Ratan Singh. When Khilji defeats the Rajput king on the battleground, Rani Padmavati performs ‘Jauhar’, an act of self-immolation to defeat the capricious purposes of Khilji to own her at all costs.

The movie features Ranveer Singh as the rapacious and barbaric Afghan war lord with a distinct playboy image. Once the “Ghoomar” controversy simmered down, a couple of other controversies were raked up - one that claims that there is no evidence of Allauddin Khilji to have been a barbaric war lord and another by Swara Bhaskar for glorifying the practice of ‘Jauhar’ as a matter of Kshatriyani pride. Thus, though the movie is not critically acclaimed, it drew a great deal of critical commentary.

Some one once quipped that there is no such a thing as ‘bad publicity’ and in spite of being judged in a harsh light even before the movie was released, the movie has begun pulling crowds, flooding all the cineplexes and malls as we speak. 

The performances in the movie are very ordinary, save some shades of perfection rendered by Shahid Kapoor in the roles of a lover, a ruler, a prisoner and a warrior. The music is also average fare but probably fitting for a period piece. As for the photography, it has Sanjay Leela Bhansali written all over it and I don’t know about you, but I am getting slightly tired of his magnum opuses. I skipped ‘Bajirao Mastani’ for the same reason but I was drawn to the controversy around his movie this time.

 The movie, however, paces itself well and keeps us guessing about what’s coming, though it sags a bit towards the end as it culminates in the act of ‘Jauhar’. On the other hand, it is probably valid because it has to create the desired effect on the audience, as protracted as it might be.

I am still mulling over Swara Bahaskar’s open letter which questions the act of glorifying the practice of ‘Jauhar’. How else could the women have protected their pride and dignity when they are being conquered by a vile war lord? On the other hand, is it not too extreme a step, though steeped in their culture, to self-immolate in the face of despair? I guess I must conclude that though the movie glorifies ‘Jauhar’, it must be seen through the lens of the prevailing norms during the 13th century, when ‘Jauhar’ was a practice that protects their dignity in the face of dire circumstances. But the glorifying aspect could have been toned down a little!

3/5!