Hindu fundamentalists threatened to destroy cinema halls and issued death threats against Padukone when they heard that the film might contain a dream sequence that showed a love scene between Padmavati, a Hindu, and Khilji, a Muslim. Padmaavat’s sumptuous palace interiors and classically inspired music lend elegance to the film without overpowering it - a welcome shift in tone from the director of the lavish but uneven Devdasand Saawariya- and would doubtless be impressive in 3D or 3D Imax (this review is based on a 2D screening). Singh’s flamboyant, broadly sketched performance is right at the edge of believability - he’s all kohl-rimmed eyes and leonine growls - but in counterpoint to Kapoor’s noble heroism it somehow works. Protests Against Viacom's Bollywood Epic 'Padmaavat' Turn Violent Ahead of Release In Indiaīhansali draws out the sizzling onscreen chemistry between Kapoor and Padukone, and finds eroticism even when the characters are wrapped in yards of gold-embroidered silks and draped in pearls and precious gems. When Khilji triumphs, Padmavati chooses self-immolation over subjugation - an act deemed heroic in its time. Padmavaat, based on a poem written by Sufi poet Malik Muhammad Jayasi in 1540, describes how Rajput king Maharawal Ratan Singh ( Kapoor) and his beautiful and politically savvy queen Padmavati ( Padukone) attempt to save their centuries-old kingdom from a savage madman named Alauddin Khilji (Singh), the ambitious Sultan of Delhi bent on possessing Padmavati and dominating India.

Deepika Padukone ( xXx: Return of Xander Cage ), Shahid Kapoor and Ranveer Singh bring welcome grandeur - and irresistible sensual appeal - to the film, setting the stage for a robust showing at the box office.

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