Anyone familiar with Hindi soap operas can attest that most of them fit a certain mold: wealthy Indian families, living in their secluded bubbles in an India that seems to be without poverty, dirtiness, or ugliness, become entangled in apparently unending conflicts centered on love, relationships, money, and other bourgeoisie concerns. Some may call such drama petty, shallow, or frivolous, while others may find it compelling. One certainty, however, is that serials are for the most part formulaic and not very creative.

That is why Chittod Ki Rani Padmini Ka Johur (”The Self-Immolation of Queen Padmini of Chittor”), a 104-episode historical soap opera that centers on Queen Padmini of the kingdom of Chittor, is so unique. The show traces the conflict between the kingdom of Chittor (which is today a city in the west Indian state of Rajasthan), ruled by the Rajputs (India’s warrior class), and an Islamic kingdom under the despot Alauddin Khilji, who wishes to capture Padmini for his harem. Told from the perspectives of both Padmini’s family and Khilji, though focusing more on the former, the show entertainingly shows how the two kingdoms clash around the 13th to 14th centuries.

As a historical soap, Chittod Ki Rani is refreshingly entertaining (though I’ll admit I am a history major). The creators of the serial have done a commendable job staying true to historical representations, though inaccuracies and stereotypes are surely present. Because of the setting of the show, characters only speak Hindi, of course, but their Hindi also reflects how a Rajput family would likely have spoken; for example, the king calls his son “Aap” (a respectful form of “you” generally used for elders and authority figures), and the style of speech reflects local dialect. The language of the serial is the first thing to stand out, for it contains the elegance, pride, and honor expected from Rajputs.

Language, though, is only one element that makes Chittod such a compelling serial. The story and the character development also make it worth watching. Each episode proceeds slowly as the story unfolds, and the interactions among characters allow each to develop quite well. For example, one episode focuses exclusively on whether or not Alauddin Khilji, who has come to visit the Rajputs, should be allowed to see Padmini. Rajput women, however, did not show their faces to everyone because females represented the honor of the household. As the men and the women discuss the situation, the audience is allowed to fully comprehend the weight of the decision and understand the mores of the time. While agonizing about whether or not to show meet Alauddin Khilji face-to-face, Padmini, for example, wavers between preserving her honor by not meeting him and respecting the desires of her king (ultimately, she decides to let Khilji see her, but only in a reflection). Thus, through such intricacies in its plot, Chittod Ki Rani explores the many influences acting upon a Rajput family.

While in a typical serial such an episode would seem to be filled with unnecessary, petty drama, in Chittod Ki Rani the conflict actually seems substantial. Indeed, all of the “drama” in the serial seems substantial, for issues of real importance are at stake (a kingdom and its people rest on the decisions of the ruling family). Consequently, the characters’ struggle to grapple with the challenges facing them is engaging: because the viewer knows that the conflicts are important, he or she actually cares about what happens. In turn, because the plot of Chittod Ki Rani Padmini Ka Johur actually seems worth one’s attention, the themes in the soap, including duty and honor, trust and straightforwardness, and ignorance and arrogance, emerge more forcefully in the episodes, and it easily becomes clear that they play an important role in the development of the story and characters.

Chittod Ki Rani’s many positive aspects do not preclude it from having elements that merit complaint, but these elements are ultimately inconsequential, though they are noticeable. The production value of this soap, like other soaps, seems low, as the various settings often are obviously shot in a studio or are computer-generated. Also like other Hindi soaps, this one so far has ignored the vast majority of impoverished Indians. This is particularly curious because a war between two kingdoms would affect the kingdom’s subjects as well. Moreover, while the acting of the main characters is strong, that of the secondary characters is not. The delivery of their dialogue is often constricted, as are their expressions.

Despite its few flaws, though, Chittod Ki Rani Padmini Ka Johur is an excellent series. Not only does it break from the traditional Hindi drama by carrying a weighty plot, but it also has a level of sophistication missing from other serials. This is one Hindi serial that should not be missed.

Chittod Ki Rani Padmini Ka Johur airs on Sony Entertainment Television Asia Monday through Thursdays at 5:00 pm and 9:30 pm, Pacific Standard Time. On Sundays from 9:30 pm to 11:30 pm, Pacific Standard Time, audiences can watch the previous week’s episodes.

Photo Courtesy: Wikipedia

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