Rani Padamavati is noble like goddes

Story of film Padamavati is tuisted for TRP

Real punches on real of Padamawati. Historical Rani Padmavati is too noble lady. But filmmaker Sanjay Bhansali creat misunderstanding about Historical Padmavati. If he cleared that the filmy story of Padamavati is the part of Mallik Muhammad Jaysi’s imagination, then no question of dispute.Everyone know that Rajput sena slapped to Mr, Bhansali.
I want to real story of Great lady Rani Padamavati is reached to everyone,so I taken help of Wikipedia. According to Wikipedia; In 1302-03 CE, Chittor was under the rule of Rajput King Rawal Ratan Singh, a brave and noble warrior, and also a patron of arts. He had many skilled and talented artists in his court, one of whom was a musician named Raghav Chetan. But what people did not know was that Raghav Chetan was also a practitioner of magic and spells. He used this hidden talent to defeat his rivals. Unfortunately, he was caught red-handed while practicing magic, which greatly displeased the king. Raghav Chetan was thus banished from the kingdom after he was publicly humiliated when forced to sit on a donkey with black paint on his face and ride around the capital. This harsh punishment earned Ratan Singh an uncompromising enemy. Sulking after his humiliation, Raghav Chetan went to Delhi with the aim of trying to incite the Sultan of Delhi, Alauddin Khilji, with a reason to attack Chittor.
The Sultan on reaching Mewar was anxious to see the beautiful queen Padmini of whose beauty he had heard a lot. As a guest to the kingdom, he asked to meet with the queen. Padmini however, suspicious of Alauddin's demand declined the request. King Ratan Singh then tried to talk his queen into agreeing for he knew of the strength and might of the Delhi Sultanate and the Khilji Dynasty. Padmini then put a condition that Alauddin should see only her reflection that too in the presence of her husband, herself accompanied by a hundred female servants When the sultan of Delhi saw her, he was so smittened by her beauty that he wanted Padmini for himself. He thus decided to attack Chittorgarh. He believed that if he killed the king he could have his queen.
The Rajputs fought valiantly in the battle, but lost. Alauddin Khilji, all triumphant when reached the fort was shocked. To his great dismay and disbelief all the royal women including Padmini had committed jauhar.
The women who performed jauhar perished but their memory has been kept alive till date in the bards and songs which glorify their valor. To protect their self respect and honour, they jumped into the fire pyre. To these women death by jauhar was better than the security and luxury of inglorious captivity

Main article: Padmavat
Malik Muhammad Jayasi's poem records yet another account of the events.The retelling of a Rajput epic of resistance by a Muslim such as Jayasi is notable enough, but his embellishments of the Rajput narrative intrigue us even further. In Jayasi's retelling of the story, Padmini is renamed 'Padmavati', and she is the princess of Chittor. In this version Padmini is held captive by her oppressive father, surprisingly very similar to how Sita was held captive by the tyrant King Ravana. Jayasi thus draws many parallels from the plot of the Indian epic 'Ramayana'. Like Hanuman, Ratnasena hears of Padmini, but falls in love with her. He then disguises as a yogi, giving up his kingdom and goes in search of Padmini. When her father finds out he tries to kill Ratnasena. Jayasi here presents him as a second Hallaj, the famous ninth-century Sufi martyred in Baghdad for his unorthodox theological views. Ratnasena’s impending martyrdom is miraculously averted when his true identity as the king of Chittor is finally revealed. Ratnasena then marries Padmini and returns to Chittor. Things from then however, take a downhill when emperor Alauddin Khilji hears of her beauty. He launches a siege which would ultimately ruin both Chittor and Padmini. It is this martyrdom of Ratnasena as a second Hallaj that foreshadows his later “martyrdom” at the hands of Alauddin Khilji.
When Ratan Singh refuses Alauddin Khilji's demand for Padmavati for his harem, war ensues and the king is taken prisoner. Meanwhile, the king of neighbouring Kambhalner makes an indecent proposal to the queen. Ratan Singh escapes and kills the king of Kambhalner, but is himself fatally wounded. His two queens, Padmavati and Nagmati perform Jauhar, and Alauddin's army arrives when their ashes are still warm. Chittor falls to the emperor.

Thus, in restating an old Rajput narrative Jayasi embellishes it by weaving into it several inter-textual strands- the Ramayana, a famous Sufi martyrology, and Natha Yogic cosmology.
Since then, the Hindu and Muslim retelling of Jayasi's poem has been going on; with retelling of this story also in Persian. One such example is of Lachhmi Ram’s recollection of the famous couplet by Hafiz  suggests
this line of reasoning: Chittor indeed lies in ruins, its inhabitants are indeed dead, but properly understood Chittor is the edifice of love, as proven by Padmavati’s resolve to commit sati for her dead beloved-and this edifice remains untouched. Thus, death and defeat are paradoxically the proofs of an ultimate victory.[16]
Further information: Jauhar
It is believed Maharani Padmini performed Jauhar in 1303, the year Alauddin Khilji attacked Chittor.[18] Jauhar (also spelled jowhar) was the act of self-immolation performed by women, most notably by the queens and royal ladies of the Rajput dynasty, in Rajasthan, after the death of their husbands at the hands of the enemy. These self immolation practices were to save oneself from being taken as a mistress or slave(sex slaves in case of invaders) by the victor, which was not acceptable to the Rajputana Queens, for it symbolized the giving up of their self respect and pride which was of utmost importance to the Rajputs.