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Swara Bhasker Clarifies Misinterpreted Comments on Padmaavats Jauhar Scene
Swara Bhasker, a respected figure in both mainstream and independent Indian cinema, has set the record straight after her remarks on the Jauhar sequence in Sanjay Leela Bhansali’s 2018 epic Padmaavat were taken out of context.
During a public event on Monday, Bhasker was asked why she had penned an open letter to Bhansali after watching Padmaavat. She explained that the film’s depiction of the mass self‑immolation of women—historically known as Jauhar—felt like a glorification of a practice she finds troubling. The comments were later circulated on X, where many users accused her of labeling Rani Padmavati and other women who committed Jauhar “cowards.” In a video posted on X on Tuesday night, Bhasker clarified that the clip had been “completely mistranslated” and that she never used the term “coward” to describe those women.
"While watching the climax, I felt that if I were a rape survivor, the film might make me feel cowardly for not taking my own life and for having chosen to survive after the assault," Bhasker said in the video. She added that the film’s ending could send a harmful message to survivors of sexual violence.
Bhasker’s criticism is not new. In 2017 she had written an open letter to Bhansali, questioning the film’s portrayal of Jauhar and the broader themes of honor and sacrifice. The letter sparked a debate that continued when Padmaavat was released on 25 January 2018. Directed by Bhansali and starring Deepika Padukone as Rani Padmavati and Shahid Kapoor as Maharawal Ratan Singh, the film was based on the 16th‑century epic poem Padmavat by Malik Muhammad Jayasi. It was one of the most expensive Indian productions of its time, with a budget of approximately ₹190 crore (US$27.8 million), and it grossed over ₹572 crore (US$59 million) worldwide.
The Jauhar scene, which shows the women of Chittorgarh committing self‑immolation to avoid capture by Sultan Alauddin Khilji’s forces, has been a point of contention for years. Historically, Jauhar was a practice of mass self‑immolation by Rajput women to prevent rape, enslavement, or capture when defeat seemed inevitable. While some view it as an act of agency in a brutal context, others see it as a tragic loss of life.
In her recent statement, Bhasker also referenced a recent gang‑rape incident in Delhi, describing it as part of a “rape epidemic” in India. She questioned whether films that portray honor as more valuable than life are sending the wrong message to survivors.
The controversy has drawn responses from various quarters. Deepika Padukone has defended the film’s portrayal of the Jauhar scene, while other actors and filmmakers have expressed differing views on the historical accuracy and artistic license involved. The film’s release was itself delayed by protests and legal challenges, and it eventually premiered with a disclaimer and a title change from Padmavati to Padmaavat.
Bhasker’s clarification comes amid a broader conversation about how Indian cinema represents historical events and sensitive social issues. While the film remains a commercial success and has received several awards, its depiction of Jauhar continues to be debated by historians, activists, and audiences.
The latest statements from Bhasker do not resolve the debate but provide a clearer understanding of her intent. The actress maintains that her criticism was aimed at the film’s messaging rather than at the women who historically performed Jauhar. The conversation around Padmaavat and its portrayal of honor, sacrifice, and violence is likely to persist as new discussions and scholarly analyses emerge.
The film will continue to be screened in theaters and on streaming platforms, and it remains a reference point in discussions about historical representation in Indian cinema. The debate underscores the need for careful contextualization when depicting sensitive cultural practices, especially in works that reach a wide audience.
During a public event on Monday, Bhasker was asked why she had penned an open letter to Bhansali after watching Padmaavat. She explained that the film’s depiction of the mass self‑immolation of women—historically known as Jauhar—felt like a glorification of a practice she finds troubling. The comments were later circulated on X, where many users accused her of labeling Rani Padmavati and other women who committed Jauhar “cowards.” In a video posted on X on Tuesday night, Bhasker clarified that the clip had been “completely mistranslated” and that she never used the term “coward” to describe those women.
"While watching the climax, I felt that if I were a rape survivor, the film might make me feel cowardly for not taking my own life and for having chosen to survive after the assault," Bhasker said in the video. She added that the film’s ending could send a harmful message to survivors of sexual violence.
Bhasker’s criticism is not new. In 2017 she had written an open letter to Bhansali, questioning the film’s portrayal of Jauhar and the broader themes of honor and sacrifice. The letter sparked a debate that continued when Padmaavat was released on 25 January 2018. Directed by Bhansali and starring Deepika Padukone as Rani Padmavati and Shahid Kapoor as Maharawal Ratan Singh, the film was based on the 16th‑century epic poem Padmavat by Malik Muhammad Jayasi. It was one of the most expensive Indian productions of its time, with a budget of approximately ₹190 crore (US$27.8 million), and it grossed over ₹572 crore (US$59 million) worldwide.
The Jauhar scene, which shows the women of Chittorgarh committing self‑immolation to avoid capture by Sultan Alauddin Khilji’s forces, has been a point of contention for years. Historically, Jauhar was a practice of mass self‑immolation by Rajput women to prevent rape, enslavement, or capture when defeat seemed inevitable. While some view it as an act of agency in a brutal context, others see it as a tragic loss of life.
In her recent statement, Bhasker also referenced a recent gang‑rape incident in Delhi, describing it as part of a “rape epidemic” in India. She questioned whether films that portray honor as more valuable than life are sending the wrong message to survivors.
The controversy has drawn responses from various quarters. Deepika Padukone has defended the film’s portrayal of the Jauhar scene, while other actors and filmmakers have expressed differing views on the historical accuracy and artistic license involved. The film’s release was itself delayed by protests and legal challenges, and it eventually premiered with a disclaimer and a title change from Padmavati to Padmaavat.
Bhasker’s clarification comes amid a broader conversation about how Indian cinema represents historical events and sensitive social issues. While the film remains a commercial success and has received several awards, its depiction of Jauhar continues to be debated by historians, activists, and audiences.
The latest statements from Bhasker do not resolve the debate but provide a clearer understanding of her intent. The actress maintains that her criticism was aimed at the film’s messaging rather than at the women who historically performed Jauhar. The conversation around Padmaavat and its portrayal of honor, sacrifice, and violence is likely to persist as new discussions and scholarly analyses emerge.
The film will continue to be screened in theaters and on streaming platforms, and it remains a reference point in discussions about historical representation in Indian cinema. The debate underscores the need for careful contextualization when depicting sensitive cultural practices, especially in works that reach a wide audience.
