Ranveer Singh breaks this triangle by winning the viewers

Fortunately or unfortunately, Ranveer Singh breaks this triangle by winning the viewers over in the first half, which is better paced than the second one. He isn’t confined by the slow motion horse-riding shots, and has the maximum impact among all the actors.
Deepika Padukone’s character is left behind in the ego battle of two men. She leaves the centre-stage for the two hotheaded war commanders more easily than expected. She returns to salvage her pride and position in the film, but it’s too late by then.
The music, by Sanjay Leela Bhansali, is another letdown. Ratan Singh and Padmavati maintain a filtered language in most part of the film except the songs where lyrics get closer to Khilji than them.
Sudeep Chatterjee’s camera understands the delicate nature of Bhansali’s filmmaking. He begins with a hand-held chase of Deepika Padukone and proceeds on to frame beautiful long shots. In one simple motion, he pans out his camera from a dancing Deepika performing ‘ghoomar’ to over the shoulder shot of Ratan Singh, in the process showing two totally different perspective of the same situation.
Conceptualised as a clash of cultures, Padmaavat is more about Sanjay Leela Bhansali’s larger than life vision than the story of Padmavati’s ordeal and why she was forced to take extreme steps to protect her honour in a world dominated by men. There isn’t any serious attempt to dig deep into Padmavati’s subconscious. Thankfully, Deepika Padukone manages to shine over a glittering canvas. She is the cohesive force that holds the film from reducing to a simple tussle between two sword-wielding men.
Padmaavat is sparkling, extravagant, dazzling, magnificent and wonderful. It’s a feast for the eyes. It leaves you craving for something more meaningful than a mere re-telling of Jayasi’s poem. But it has enough to bedazzle you, so go for the sheen and Ranveer Singh’s lunacy. After all, Padmaavat has passed so many hurdles to reach you.