Latest news with #Panipat
Express Tribune
12-05-2025
- Entertainment
- Express Tribune
The imaginary saffron past
As a ceasefire takes hold, one of the starkest takeaways from the final days of India's military aggression in Pakistan is Bollywood's resounding cheerleading for Modi's Hindutva regime. With a tightening ideological bandwidth, the range of stories the Hindi film industry is willing to tell has diminished. What has replaced them are large-scale historical dramas, nationalist spectacles, and biopics that elevate grand origin myths of Brahminism and Hindutva's raj. From medieval queens to modern exoduses, here are five films that blur fact and fiction, painting civilisational clashes in stark black-and-saffron. Be it snow-dusted plains of 1761 or the contested valleys of Kashmir, each film projects a meticulously curated past, where every stirring speech and every grand tableau sends a clear message: this is the India of today's ruling ideology – and the truth, as always, is what you're told to believe. 'Panipat' (2019) Ashutosh Gowariker's Panipat promised sweeping battle scenes and Maratha bravado but instead served up a hyper-nationalist reimagining of the 1761 clash with Ahmad Shah Durrani. In the film, Sadashiv Rao Bhau (Arjun Kapoor) is the very personification of righteous Maratha valour, clad in polished armour and delivering stirring monologues on "saving motherland's soil." On the other side, Durrani (Sanjay Dutt) is framed almost exclusively as a bloodthirsty "invader," his Afghan warriors snarling like cartoon villains. What Gowariker erases is the realpolitik of the era: alliances between Hindu and Muslim chiefs, intermarriages among royal families, and even the fact that Durrani once maintained cordial ties with some Maratha sardars. Instead, Panipat substitutes nuance with a binary narrative – Hindu heroes vs Muslim hordes – to satisfy a contemporary appetite for "us versus them." Between the flagrant distortion of history and the sheer unbelievability of Arjun as a formidable force, on or off-screen, the film marked yet another Hindutva-inspired box-office dud. Naturally, it won applause in right-wing circles for "honouring Indian history." 'Adipurush' (2023) Who thought the Ramayana could be weaponised via CGI? Adipurush resurrects the epic with militaristic punchlines and beefed-up action sequences worthy of a modern war film. Director Om Raut repaints Ravana, played by Saif Ali Khan, not as the multi-dimensional rakshasa king of lore but as a "dark-bearded tyrant" dressed in black robes, evoking orientalist tropes of medieval Muslim invaders. Opposite him stands Prabhas's Raghava: chiseled, righteous, fate-driven. Every arrow loosed is a pledge to defend Hindu dharma, and every shot celebrates mythic heroism as a blueprint for today's politics. Costume designers even gave Janaki (Kriti Sanon), avatar of goddess Lakshmi and Raghava's wife, abducted by Ravana, a warrior-queen makeover. Clearly, ancient ideals needed a modern feminist spin, however poorly backed by the original text. Critics panned the VFX and whirled at the militarisation of sacred stories, but for audiences primed by nationalist fervour, Adipurush sandwiched both a rallying cry and a holy legend repurposed as contemporary propaganda. 'Samrat Prithviraj' (2022) Akshay Kumar's swagger-filled turn as Prithviraj Chauhan was pitched as the crown jewel of medieval glory. But all the actor brings is the incredibility shaping his humour in Priyadarshan films. Samrat Prithviraj ransacks history to present the 12th-century ruler as India's final pagan sovereign, standing alone against Muhammad Ghori (Manav Vij) and his "barbaric onslaught." In truth, Prithviraj lost to Ghori in the second battle of Tarain, not to mention, the subcontinent's political map was already crisscrossed by fluid alliances, not monolithic faith blocs. Screenwriters borrow selectively from the semi-mythical Prithviraj Raso, amplifying heroic duels and noble martyrdom, while glossing over Prithviraj's own strategic errors and his partnerships with Muslim generals. Despite its noisy marketing, the film fizzled commercially – a telling reminder that jingoism alone can't replace coherent storytelling. 'Padmaavat' (2018) Sanjay Leela Bhansali's Padmaavat arrived already engulfed in controversy: mobs threatened to burn down theatres; protesters demanded cuts to imaginary "love scenes." Once released, the film's strengths – luminous cinematography, opulent sets, skilled performances – couldn't mask its saffron-tinged undercurrents. Queen Padmavati (Deepika Padukone) becomes the paragon of Rajput honour, while Alauddin Khilji (Ranveer Singh) transmogrifies into a blood-lusty caricature, prowling Delhi's marble corridors in inky robes. Bhansali leans into the legend from Malik Muhammad Jayasi's 16th-century poem without ever acknowledging its fictional basis. Khilji's character is stripped of historical context – no mention of his architectural patronage or his complex administrative reforms. Instead, he's an animalistic antagonist, reinforcing a trope of the "predatory Muslim invader." Meanwhile, the Rajputs are a monolith of virtue, united in a mass jauhar rather than divided by the internecine politics that actually plagued Chittor. The film is a tragic addition to Bhansali's many exhausted attempts at historical fiction. 'The Kashmir Files' (2022) If Panipat and Padmaavat weaponise myth, The Kashmir Files weaponises trauma. Starring Mithun Chakraborty, Anupam Kher, Darshan Kumar, and Pallavi Joshi, the film centres on a young Kashmiri Hindu student raised by his exiled grandfather and kept in the dark about his parents' deaths. Vivek Agnihotri's film foregrounds the exodus of Kashmiri Pandits in 1990 – an under-told horror story of death threats, bomb blasts, and mass displacement. But in compressing years of conflict into slickly edited set pieces, the film trades nuance for punchy outrage. Graphic scenes – bloodied bodies, impassioned pleas – feed a binary of "innocent Pandit victim" versus "evil Muslim militant," with hardly a nod to the insurgency's broader political context or the simultaneous suffering of Kashmiri Muslims. The film's ascension to tax-free status in BJP-ruled states, plus public endorsements from senior party figures, cemented its political status beyond cinema. Online, hashtags surged, and hardline voices trafficked in fresh Islamophobic hate speech. Real historians have pointed out factual slippages – dates conflated, characters invented, events reordered – to sculpt a narrative that fits neatly into a Hindutva playbook.
India.com
07-05-2025
- Entertainment
- India.com
Meet actress, who has given 5 hits with Rishi Kapoor, 10 with Mithun Chakraborty, yet regrets not working with THIS superstar, her name is…, last film was…
Meet actress, who has given 5 hits with Rishi Kapoor, 10 with Mithun Chakraborty, yet regrets not working with THIS superstar, her name is..., last film was... Born in November 1965, Padmini Kolhapure is considered one of the most popular actresses of 80s. In a career spanning over 40 years, she has appeared in more than 75 films, and mostly became superhits. The veteran actress is currently all set to make her television comeback after a 12-year hiatus. She will be seen portraying the character of Rajmata in the historical drama Chakravarti Samrat Prithviraj Chauhan. Her last TV appearance was in Ekk Nayi Pehchaan , that premiered on 23 December, 2013. While, Padmini Kolhapure is highly-awaiting for her next venture, she recently revealed that one of her biggest regrets is not sharing screen-space with Amitabh Bachchan. In an interview with The Times of India, she expressed, 'One thing is for sure — I really missed out on working with Amitji. It was probably one of my biggest regrets, as I have worked with everyone else, and he is the only actor I haven't worked with.' According to reports, Padmini was signed for the original cast of Silsila (1981) , which starred Amitabh Bachchan and Parveen Babi. However, the role eventually went to Smita Patil, but it couldn't happen, and later Jaya Bachchan was finalised for the role. For the unversed, Padmini Kolhapure was second among the three daughters of Pandharinath Kolhapure, a professional musician. Her elder sister, who is Shraddha Kapoor's mother, Shivangi Kolhapure, is a former actress. Her younger sister too, Tejaswini Kolhapure, is an actress. She is niece of legendary singers Asha Bhosle and Lata Mangeshkar. Married to film producer Pradeep Sharma, they have a son named Priyaank Sharma. Padmini's last film appearance was in Ashutosh Gowariker's Panipat (2019), alongside Sanjay Dutt, Arjun Kapoor and Kriti Sanon.
Indian Express
06-05-2025
- Entertainment
- Indian Express
Zeenat Aman heaps praise on The Royals co-star Ishaan Khatter: ‘He exhibited the courtesies and grace I thought had become virtues of the past'
Zeenat Aman fans have been eagerly awaiting her return to acting ever since Netflix India announced its new series The Royals. The veteran actor is making a comeback after nearly six years, her last appearance being in the 2019 film Panipat, where she portrayed Sakina Begum. Sharing a still from The Royals on Instagram, Zeenat wrote a heartfelt caption reflecting on her experience working on the Netflix series. The caption of the post started with an apology towards fans who are waiting for an update about the documentary on The Kapoors. She said, 'Some of you must be awaiting my series on the Kapoors, but since I'm quite obviously in the midst of a promotional blitzkrieg for The Royals, it has to wait another week or so.' She then proceeded to talk about her upcoming series and clarified that the post is something she wished to do personally and not because of any studio directive. View this post on Instagram A post shared by Zeenat Aman (@thezeenataman) Story continues below this ad Zeenat Aman talked about the struggles of shooting for long hours at this age and said, 'The truth is that as I get older, shoot schedules leave me exhausted. At the end of a 10- to 12-hour workday that involves tedious time in the makeup chair, heavy costumes and jewellery, searing heat and frenzied activity, I am left with swollen ankles and drooping eyes.' However, she mentioned that seeing herself on the screen is worth all the pain she has to go through and described her characters as 'entitled, queenly, tart and intimidating.' The veteran actor then focused on appreciating her young co-star Ishaan Khatter and announced her support for him. Zeenat wrote, 'Now, while every member of the cast and crew did their best to ensure my comfort, I must admit I am most charmed by the young Mr. Khatter. Here is a boy whose star is on the rise, yet he made it a point to prioritise my wellbeing. From assisting me down the stairs to my vehicle, to bringing me fresh ginger ale to sip on between takes and conjuring up cushions for the uncomfortable plastic chair I had to sit on during readings, he exhibited the courtesies and grace I thought had become virtues of the past. I also witnessed his immense dedication to his work as he honed his horse-riding and dancing skills to really embody his royal character.' She added, 'I wanted to post about Ishaan many months ago, when I returned from our last schedule in Jaipur. But both Zahaan and Cara insisted that I wait until we were closer to the release date to share my thoughts. Prudent of them, since my sentiments remains the same but perhaps this timing is better to air them. @ishaankhatter, you have an ally in me and I give you all my blessings for a successful career (and meaningful personal life).' The cast of The Royals is truly star-studded, featuring actors such as Zeenat Aman, Ishaan Khatter, Bhumi Pednekar, Nora Fatehi, Dino Morea, Milind Soman, Chunky Panday, and Sakshi Tanwar — to name just a few.
Time of India
06-05-2025
- Entertainment
- Time of India
Padmini Kolhapure: One of my biggest regrets is missing out on working with Amitji
is making her return to the small screen with the historical drama Chakravarti Samrat Prithviraj Chauhan, nearly 12 years after her last major television role in (2013). 'It doesn't feel like a long time has passed because people still tag me about Ek Nayi Pehchaan. Social media has given longevity to all our work,' says Padmini. In an interview with us, the actress gets candid about the kind of roles that excite her now, shooting bold scenes back in the day and her niece, . Excerpts: 'I'm quite impulsive about the films I do' Padmini has appeared in only a few Hindi films in the last two decades. She was last seen in (2019). Tired of too many ads? go ad free now 'I did Panipat because I thought it would be a great experience to work with Ashutosh Gowariker, given the kind of films he makes. Similarly, I did Phata Poster Nikhla Hero (2013), because it was centred around a mother and son. I loved working with Rajkumar Santoshi. He's such an actor's director,' she says. Ask her about being choosy, and she says, 'Honestly, I'm not excited about a lot of projects that come my way. I'm quite impulsive. The story has to resonate with me, and even if it turns out to be the worst decision of my life, it just has to touch me. I did a Marathi film called Prawaas (2020). I really liked the narrative and also enjoyed working with Ashok Saraf.' 'I had my family around me when I shot bold scenes' The conversation touches on Padmini having filmed a few bold scenes as a teenager in movies like Gehrayee (1980), Insaf Ka Tarazu (1980) and Prem Rog (1981), long before intimacy coordinators became the norm. When asked if an intimacy coordinator would have helped back then, she replies, 'Maine iss baat par dhyaan bhi nahi diya. I had my family around me then. Besides, the entire unit felt like a family.' She also points out that earlier, even small gestures could spark an uproar. Recounting one such incident, she says, 'People made a hue and cry over the peck I gave King Charles on his cheeks. Aur abhi toh sab kuch chal raha hai . Tired of too many ads? go ad free now Back then, it was considered taboo,' she says. Padmini with Shraddha Kapoor 'Shraddha looks and carries herself just like her mother' Padmini also often finds herself addressing frequent comparisons to her niece, new-gen actress Shraddha Kapoor. Clarifying the resemblance, she says, 'She looks like her mom, who is my sister. Shivangi and I resemble each other. In fact, at one point, we were often mistaken for twins. Now, just because I am in the public eye and Shivangi is not, people tend to think her daughter resembles me. Shraddha looks and carries herself just like her mother. Despite clarifying this so many times, people still refer to her as my daughter and say, ' Aapki beti bilkul aapke jaisi dikhti hai ', so I've started saying thank you.' 'I am enjoying the experience of playing Raj Mata' Padmini, who is gearing up for her TV show Chakravarti Samrat Prithviraj Chauhan, says, 'I play Raj Mata and I am enjoying the experience. The last historical character I played was in Panipat, which I enjoyed. When you wear the costumes, your demeanour changes automatically, right down to the walk.' Amitabh Bachchan 'Missed working with Mr Bachchan' Padmini was reportedly part of the original cast of Silsila (1981) alongside and Parveen Babi. She was replaced by Smita Patil, but the role eventually went to Jaya Bachchan. Looking back, the actress says, 'One thing is for sure - I really missed out on working with Amitji. It was probably one of my biggest regrets, as I have worked with everyone else, and he is the only actor I haven't worked with.'
