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Life & Style

Indian extremist openly threatens Sanjay Leela Bhansali

Sanjay Leela Bhansali’s ‘Padmavati’ has been facing controversy from the first day of its launch. Opposing the relea
Published November 8, 2017 Updated November 8, 2017 08:37am

Sanjay Leela Bhansali’s ‘Padmavati’ has been facing controversy from the first day of its launch. Opposing the release of the movie, Bharatiya Janata Party lawmaker Chintamani Malviya has said that those like Bhansali only understand the ‘language of shoes’.

Malviya posted a lengthy message on his Facebook profile asking people to boycott the upcoming movie. He alleged that the film has ‘factually incorrect’ depictions of history. “I oppose the movie and also urge my supporters to boycott it,” he wrote.

“People like Bhansali do not understand any other language. People like him only understand the language of shoes. This country will not disrespect Rani Padmavati. We will not tolerate any distortion of our history,” the 48-year-old MP wrote in a Facebook post.

Earlier, Sri Rajput Karni Sena, an organisation of Rajput community, already opposed the release of the film on December 1 on the same grounds.

Sanjay Leela Bhansali furious over Deepika Padukone’s bold photo shoot

On the other hand, talking about all the difficulties he has been facing for the release of his upcoming film, Bhansali said, “None of my films has been easy to shoot. From the time I directed my first film ‘Khamoshi: The Musical’, I’ve fought against all odds. My first film was declared a flop on the first day of release and there were reports of enraged viewers breaking their seats inside the theatre. I wondered what I had done to incur their wrath. I don’t think of the struggle, the suffering and the strife as negative forces. They are my incentives to make the films that I want to make. If I had to make a stress-free film, I’d be really worried,” IANS reported.

The movie is a historical drama, featuring Deepika Padukone, Shahid Kapoor and Ranveer Singh in the lead role.

Copyright Business Recorder, 2017

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