Latest news with #Padmavat
Hindustan Times
23-07-2025
- Entertainment
- Hindustan Times
Review: Muslim Identity in Hindi Cinema by Mohammad Asim Siddiqui
The pervasive influence of new information and communication technology has transformed culture, literature, the fine arts, and other forms of entertainment into powerful transnational productions. Now, cinema serves as a reflective mirror to our rapidly evolving social landscape, illuminating and informing us about significant societal shifts. Ranveer Singh as Khilji in Padmavat. 'An unprecedented surge in structuring films on themes related to Muslim rulers reveals a sense of naivety on the part of the directors, who seem to believe that retelling the past or the imagined past settles the question of cultural identity.' (Film still) Films with their vivid characterisation, intriguing visuals, and gripping storylines transcend fantasies of desire and reveal what lies beneath the vicissitudes of life. Cinema appears to be the site of every twist in collective life, upending our settled understanding of lived experience. The postmodern era has given rise to transformational cinema, queer cinema, and politically charged films that lend a voice to subcultures, fostering a sense of empathy and inclusivity. 185pp, ₹3145; Routledge The widely admired portrayal of fervent nationalism has given rise to a new notion, 'cine patriotism,' which is essentially a stagnant concept. It resonates with Bollywood, which often constructs identity within a particular national and religious context. Identity is a slippery and multilayered concept, and when it pertains to those people who, in Franz Fanon's vivid phrase, are without any anchor, without horizon, and colourless, it becomes more complex. For Indian cinema, national identity can only be constructed if it is contrasted with a less-than-desirable, if not loathsome, other. It is the other's ghostly presence that goes well with the gullible audience. In cinematographic projection, the other is the Muslim, who is fictionalised and plays the assumed role. The narrative and visuals fix him in violence, hostility, and aggression. His story is constructed through fantasy, myth and falsification, which leaves him experiencing himself as the other. The portrayal is done through two vectors – cultural difference and social rupture. Negotiation of identity among Muslims remains a shifting motif, serving as a potential tool for othering by contemporary Hindi cinema. Right now, this is how our film industry treats the second-largest Muslim population in the world. How does the expropriation of cultural and religious identity hinder the understanding of a community? Indian cinema addresses this by focusing on a simplified and often distorted representation that fails to capture the complexity of identity. An unprecedented surge in structuring films on themes related to Muslim rulers reveals a sense of naivety on the part of the directors, who believe that retelling the past or the imagined past settles the question of cultural identity. Pran and Amitabh Bachchan in Zanjeer. 'The issue of the Muslim gangster is explored in the fourth chapter, which provides a close reading of Zanjeer (1973), Angaar (1992), and numerous other films.' (Film still) The diacritics of cinematic aporia call for an objective delineation and insightful analysis, and it is what Asim Siddiqui's recently published book, Muslim Identity in Hindi Cinema does with academic rigour. The author rightly considers cinema a site of hybridity, diversity, and splitting, where relations, assimilations, and syncretizations are negotiated and renegotiated. Hindi films also did this in the portrayal of Muslim identity over the last eight decades. Now, however, the situation has changed. This book attempts to analyse 'how the inclusive vision presented in films like Mughal-e Azam (1960) has been replaced by a Hindutva vision in many films using history as a backdrop where Muslims appear in the image of the other.' Comprising six terse and incisive chapters, the book provides a panoramic yet invigorating view of the representation of Muslims in new social settings and idioms. Siddiqui discovers, excavates and discusses the changing perception of Muslim identity from the historical films of the 1940s down to the recent movies that perpetuate stereotypical notions of Muslim identity. With critical acuity and social and cultural sensitivity, he unravels the representation of global Muslim identity in a post–9/11 world and emphasises the need for a more nuanced understanding. The first chapter, From History to Circus: Politics of Genre and Muslims' Representation in Hindi Films enumerates historical, political, social and cultural aspects of Muslim identity, and discusses issues relating to Partition, to Muslims into a secular nation, interreligious marriages, ever growing communalism, militancy in Kashmir, and the subjugation of Muslim women. The second chapter goes well beyond the paraphrasing of themes and cursory interpretation of visuals, costumes, lyrics, music, and sound effects. The author sensitively reads the films of Raja Kumar Hirani and Zoya Akhtar, where the predictable markers of identity hardly work. A dispassionate analysis is presented in the third chapter, which examines the portrayal of Hindu-Muslim hostility and violence in films. Author Mohammad Asim Siddiqui (Courtesy the subject) The issue of the Muslim gangster is explored in the fourth chapter, which provides a close reading of Zanjeer (1973), Angaar (1992), and numerous other films. The figure of the gangster has now been replaced with that of a terrorist and has produced the terrorist genre of Hindi films. The author takes pains in chewing over the globalisation of terror and the setting of terrorist films in Afghanistan, Turkey and London. The last chapter provides a panoramic view of the representation of Muslim women characters in Hindi cinema. 'Muslim women also appear in many interreligious romances where the man usually happens to be a Hindu and the girl a Muslim,' Siddiqui correctly points out, adding that the pattern 'guided by the demands of political correctness and market forces, reveals deep-rooted sexual anxiety about protecting and preserving women from defilement.' In sum, the book presents an insightful and multilayered analysis of the representational aspects of Hindi cinema. Shafey Kidwai, a bilingual critic, is the director of Sir Syed Academy, Aligarh Muslim University.
India.com
16-06-2025
- Entertainment
- India.com
Not Deepika Padukone, Priyanka Chopra, this actress wore 200 kg real jewellery, 80 kg lehenga, 50 security guards escorted her, lead actress is…, film is…
Not Deepika Padukone, Priyanka Chopra, this actress wore 200 kg real jewellery, 80 kg lehenga, 50 security guards escorted her, lead actress is…, film is… Whenever a film is produced, especially representing history, it becomes essential to pay attention to every small detail to attention. There are many mythological and even biographical films that are given more attention to detail. Films like Padmavat, RRR, Baahubali, RRR, Bajirao Mastani and many more. We get to see extravagant sets mimic history. Today we will tell you about a film, which the lead actress wore 200kg of jewellery. She used to be escorted by a bodyguard since she carried the necklace. You might be wondering who it could be other than Deepika Padukone or Priyanka Chopra. Let us tell you, you're wrong. This 2008 film became one of the biggest blockbusters of that year. The film in question is none other than Jodhaa Akbar. It is one of the successful films of Aishwarya Rai Bachchan's career. The film starred actors like Hrithik Roshan, Sonu Sood, and Nikitin Dheer. The chemistry between Aishwarya and Hrithik in the film was highly appreciated by the people. Apart from this, this historical drama attracted the audience with the royally designed dresses worn by Aishwarya. From silk sarees, pure embellished lehengas and jewellery became the centre of attraction. However, the special thing was that the former Miss World wore 200 kg of jewellery in the film. These jewellery made of pearls and metals were prepared with the help of 70 artisans, on the other hand, 50 guards were appointed to ensure the safety of the jewellery. Aishwarya Rai looked divine in every frame of the film. The actress wore all kinds of jewellery from polki necklace, maang tika to hathphool and glass bangles. Let us tell you that designer Neeta Lulla had prepared Aishwarya for the look of Jodha. That's when the actress discussed the wedding dress she wore with the designer. She wanted to wear a luxurious silk Kanjeevaram saree, apart from the grand costume of the film, which would give her a cultural look. Jodhaa Akbar, directed by Ashutosh Gowariker, became the third highest grossing film of the year. Made on a budget of Rs 45 crore, the film earned Rs 107 crore worldwide. The film gained widespread popularity and also won two awards.
India.com
14-06-2025
- Entertainment
- India.com
Ajay Devgn rejected this blockbuster due to…, another superstar was offered, it earned Rs 585 crore, film is..., his name is…
Ajay Devgan is among the most accomplished actors in Bollywood and has caused a sensation at the box office numerous times with his movies. Nonetheless, Ajay Devgan made certain choices in his career that he could still regret. Ajay Devgan turned down several major and notable films that later turned into cult-classic. However, this film, which was later did by another superstar, made it a gigantic blockbuster of Indian Cinema. Let's see who this star was. Bollywood Actor… Here we are talking about Shahid Kapoor, whose name does not need any kind of introduction. Shahid played a significant role in Sanjay Leela Bhansali's period drama Padmaavat, which also featured Ranveer Singh and Deepika Padukone. However, makers did not approach Shahid for the film as they wanted Ajay Devgn to play the role. When Ajay Refused Padmaavat As per reports, Sanjay Leela Bhansali extended a significant role to Ajay Devgan in the movie Padmavat, Shahid Kapoor portrayed Maharwal Ratan Singh in the movie, which was initially presented to Ajay Devgan but, due to his scheduling conflicts with films like Golmaal Again and Raid, he refused to be the part of it. However, it has also been said that Ajay did not like the character, due to which he declined to feature in Padmaavat. The budget for Padmaavat stood at Rs 215 crore. It made Rs 19 crore at the Indian box office on its opening day. On the second day, it generated a revenue of Rs 32 crore. On the third day, it amassed Rs 27 crore. The movie, which made approximately 80 crore in its first three days, accumulated a total of Rs 302.15 crore in India and became a hit by grossing Rs 585 crore globally. Controversies Related To Padmaavat Padmaavat faced numerous controversies throughout its production. Multiple Rajput caste groups, such as the Shri Rajput Karni Sena and its supporters, staged protests and subsequently damaged the film sets, asserting that the movie depicts Padmavati, a Rajput queen, negatively. They had likewise attacked Bhansali on a movie set. The Sena issued additional threats of violence. During the shooting of a scene at Masai Plateau in Kolhapur at night in October 2017, a group of people assaulted and ignited the set, harming animals and ruining numerous costumes. Bhansali and Deepika Padukone faced threats of violence and death many times while shooting this film.
