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Padmaavat movie review: This film is outstanding and a masterpiece

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Padmaavat: Starring, Ranveer Singh, Deepika Padukone, Shahid Kapoor, Aditi Rao, Jim Sarbh: Directed by Sanjay Leela Bhansali
Rating: . (5 stars)

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For my money there is no contemporary filmmaker with the vision and velocity of Sanjay Leela Bhansali. The man makes every frame in his cinema seem like a wondrous timeless work of art.

As in all his films there are visuals in Padmaavat that will be remembered for all times to come. And this is as opportune a time as any to salute Bhansali’s cinematographer Sudeep Chatterjee who is a magician, visionary par excellence who can put on screen images that poets and painters put into their creations when at the acme of inspiration.

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Almost every moment in the story that Bhansali tells of the royal Queen Padmavati and the Islamic invader who lusts after her, is pure magic.

The mesmerizing mise en scene hooks you from the word go when in a spellbinding introduction, the Queen on a hunting trip manages to wound Raja Ratan Singh, in more than one.

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Love-stuck and besotted Shahid Kapoor’s Ratan Singh makes it very clear that he would do anything in his power to protect the beauty and sanctity of the woman he falls in love with and marries.

Palace intrigue is always a high-point in Bhansali’s operatic dramas. In Bajirao Mastani we saw Deepika Padukone as the royal queen who ends up being the second wife of a neighbouring empire. A similar fate awaits Deepika in Padmaavat.

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While the conflict between the two wives in Bajirao Mastani was conspicuously contoured, in Padmaavat Deepika’s Padmaavati barely manages to interact with her husband’s first wife (played by Anupriya Goenka).

It is Padmaavati’s conflict with her invader and intended violator Allauddin Khilji which occupies centerstage in this rigorous drama of resonant historicity.

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On many occasions the historical facts are tampered with for the sake of edifying the essential conflict between the Queen and her invader.

Deepika Padukone and Ranveer Singh bring an exquisite operatic duet-like feeling to their parts. Though they sing the same song from different scales,they are like the earth and sky never destined to meet.

Bhansali imparts a portentous potency to their conflict.

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Without coming face-to-face the two actors convey an almost-unbearable dramatic tension.

The climax with all of the Rani’s female entourage fighting off the advances of Khilji by hurling hot coal bricks on him, is a reverberant homage to Ketan Mehta’s Mirch Masala.

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Remember Naseruddin Shah’s moustache-twirling subedaar in Mehta’s film lusting after the feisty Sonbai (Smita Patil)? Bhansali’s Padmavati echores Sonbai with heartening whoops of joy. Indeed this is a film that pays a homage to the greatest filmmakers of the country Raj Kapoor and K. Asif and succeeds in going beyond the vision of these two filmmakers.

The sequences at the end of the film featuring Deepika Padukone and a bevy of women all wearing flaming-red, will stay with you for a very long time. I am afraid Shahid Kapoor as Padmavati’s husband seems a little shaky in his attempts to counter Ranveer’s psychotic Khilji with regal restraint.
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Shahid internalizes his character’s struggles to an extent where he looks bored at times.

But there is no dearth of bravura acting in Padmaavat. While Ranveer and Deepika as antagonists rip the screen part, two other actors Jim Serbh and Aditi Rao shine in smaller roles bringing to their part as Khilji’s manipulative toy-boy and idealistc wife, a strong sense of a back-history that belies the length of their roles.
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Padmaavat is a work of illimitable splendor. The 3D format seems quite an unnecessary grandeur-enhancement device. When we already have so much to savour and imbibe why hanker for more? This is a film so inured in irradiance and so steeped in splendor you will come away from the experience exhilarated and satiated.

This is a movie so epic in proportion it stands tall among the great films of all time about love and war. In Bhansali we have our own David Lean. Padmaavat proves it.

Entertainment

Casino Days Reveal Internal Data on Most Popular Smartphones

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CasinoDays India

International online casino Casino Days has published a report sharing their internal data on what types and brands of devices are used to play on the platform by users from the South Asian region.

Such aggregate data analyses allow the operator to optimise their website for the brands and models of devices people are actually using.

The insights gained through the research also help Casino Days tailor their services based on the better understanding of their clients and their needs.

Desktops and Tablets Lose the Battle vs Mobile

The primary data samples analysed by Casino Days reveal that mobile connections dominate the market in South Asia and are responsible for a whopping 96.6% of gaming sessions, while computers and tablets have negligible shares of 2.9% and 0.5% respectively.

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The authors of the study point out that historically, playing online casino was exclusively done on computers, and attribute thе major shift to mobile that has unfolded over time to the wide spread of cheaper smartphones and mobile data plans in South Asia.

“Some of the reasons behind this massive difference in device type are affordability, technical advantages, as well as cheaper and more obtainable internet plans for mobiles than those for computers,” the researchers comment.

Xiaomi and Vivo Outperform Samsung, Apple Way Down in Rankings

Chinese brands Xiaomi and Vivo were used by 21.9% and 20.79% of Casino Days players from South Asia respectively, and together with the positioned in third place with a 18.1% share South Korean brand Samsung dominate the market among real money gamers in the region.

 

CasinoDays India

Cupertino, California-based Apple is way down in seventh with a user share of just 2.29%, overshadowed by Chinese brands Realme (11.43%), OPPO (11.23%), and OnePlus (4.07%).

Huawei is at the very bottom of the chart with a tiny share just below the single percent mark, trailing behind mobile devices by Motorola, Google, and Infinix.

The data on actual phone usage provided by Casino Days, even though limited to the gaming parts of the population of South Asia, paints a different picture from global statistics on smartphone shipments by vendors.

Apple and Samsung have been sharing the worldwide lead for over a decade, while current regional leader Xiaomi secured their third position globally just a couple of years ago.

Striking Android Dominance among South Asian Real Money Gaming Communities

The shifted market share patterns of the world’s top smartphone brands in South Asia observed by the Casino Days research paper reveal a striking dominance of Android devices at the expense of iOS-powered phones.

On the global level, Android enjoys a comfortable lead with a sizable 68.79% share which grows to nearly 79% when we look at the whole continent of Asia. The data on South Asian real money gaming communities suggests that Android’s dominance grows even higher and is north of the 90% mark.

Among the major factors behind these figures, the authors of the study point to the relative affordability of and greater availability of Android devices in the region, especially when manufactured locally in countries like India and Vietnam.

“And, with influencers and tech reviews putting emphasis on Android devices, the choice of mobile phone brand and OS becomes easy; Android has a much wider range of products and caters to the Asian online casino market in ways that Apple can’t due to technical limitations,” the researchers add.

The far better integration achieved by Google Pay compared to its counterpart Apple Pay has also played a crucial role in shaping the existing smartphone market trends.

 

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