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 Devdas and Saawariya.
Director Sanjay Leela Bhansali's latest period film is an embarrassing display of Hindu nationalism and male machismo. Not even the grandeur and refined spectacle for which Bhansali is known can cloak its shameless denigration of Muslims.
With its lavish sets; catchy, narratively-driven songs; and powerhouse performances, Padmaavat is even greater than the sum of its already-commendable parts.
Thankfully, Padukone's Padmavati gets to be more than a pretty face in the second half of the film as she rallies the Rajput women in the lead-up to the stirring climax, which is masterfully handled by Bhansali.
In his misguided attempt to replicate the success of Bajirao Mastani, Sanjay Leela Bhansali learns that you can get struck by lightning if you try to capture it in a bottle twice.
Ranveer Singh shines in his portrayal of Bhansali's Khilji as a heartless beast. He is menacing, brutal, passionate, unpredictable and exciting to watch.