The Padmavati puzzle

Nonika Singh in Chandigarh

The dust over Bollywood’s Padmavati, despite talk of compromise being worked out between the moviemaker and perpetrators, is far from settled. The heated debate over ‘distortion of historical facts’ is fueled by a violent incident in which National Award winning director Sanjay Leela Bhansali was assaulted at Jaigarh fort in Jaipur. Big names in the film industry such as lyricist Javed Akhtar and producer-director Anurag Kashyap have joined the fray. The question also has an element of existential certitude: was Padmavati a historical reality, in the first place? Akhtar doesn’t think so. His tweet is: “Padmawat is the first Hindi novel written by Malik Mohammad Jaisi. It is not history but pure fiction like Salim Anarkali.” This has invited censure. The fast-tweeting trollers not only differ with Akhtar but are also eager to paint it with communal colours.

Kashmir-based director Rahat Kazmi asks plainly: “Why does every debate boil down to a religious divide? Why must a creative person’s ideas have to be seen as war of religions, as us versus them?” Perhaps, Padmavati was a figment of imagination. Or maybe she was an actual real flesh and blood being who may not find mention in historical accounts. But like so many of her counterparts, if she lives in popular imagination, there must be some basis to it. Either way this heroic character is an ideal material for a film and is the stuff that cinema is made of. Would Bhansali do justice to her valour, fabled or real, would Deepika Padukone be able to match her beauty, again imagined or actual? These are fair queries. 

Noted Punjabi director Anurag Singh says when you are talking of history, when facts aren’t so easy to ascertain or establish, imagination is always at play. “The line between fact and fiction anyway begins to blur.” Kazmi, however, thinks facts are sacrosanct and authenticity has to be the pillar of any historical film. Harry Sachdeva writer and producer of 31st October agrees: “Makers actually do a lot of research.” He doubts if any miscreant of Karni Sena or other naysayers know better than Bhansali who must have read tomes on the subject before deciding to make a film on Rani Padmavati. 

Actually this isn’t the first time Bhansali is delving into Rani Padmani’s character. His opera adapted for the Parisienne stage in 2008, based on the 1923 work by French composer Albert Roussel, too brought the Rani of Chittor to life. Besides, this time his production team has gone in overdrive to recreate the 13th and 14th century period look. Indeed, making a historical film is never a cakewalk. The hardships K Asif underwent when he was making Mughal-e-Azam are now as much a part of cinematic history as his magnum opus.

No doubt passion drives most makers. Yet who can deny that often commercial constraints overtake research. Ashutosh Gowariker whose Jodhaa Akbar too ran into choppy waters must be doing his homework. Yet he not only faltered with Jodhaa Akbar, his depiction of Harappan culture in Mohenjo Daro too did not win any brownie points either with critics or historians. Even while reflecting on recent history or creating biopics on men and women who are still alive, the truth goes missing. Few makers actually dare to ask discomfiting questions in films based on real incidents and people. Unnecessary spicing of romance, and too much eulogizing of its lead characters take precedence. So, on that count perhaps Karni sena vigilantes should not have had any worries. If Bhansali had decided to put Rs 180 crores on a film on Padmavati rest assured it would be a lavish tribute of epic proportions. 

Singh reminds that few mainstream Bollywood filmmakers claim that they are recreating history. That’s why a disclaimer is a norm. But in volatile times that we live in, do makers have to be mindful of hurting ‘popular sentiments’ which is a ruse, often used to hound makers. Singh is adamant, “If all creative people were to pander to popular sentiments, it would be the death of art.” 

Sachdeva says misguided outfits have no loci standi. “All they want is cheap publicity.” But in that even Bhansali is not a loser. Now the nation knows there is a film called Padmawati. Of course, in all fairness Bhansali didn’t ask for it. Moreover, he certainly didn’t deserve the treatment meted out to him by fringe groups with whom ironically he had little choice but to reach an amicable solution.