Music by AR Rahman isbeautiful, but some songs like Jashn-e-Bahar and Khwaja
Mere Khwaja are special. As for the writing (Haider Ali and Gowariker), the
film is writtenwell; especially the little moments between the two feisty
lovers.Talking about writing, there are some scenes beautifully thought outand
excellently executed that just steal your heart away. Like the onewhere a posse
of Sufis singing Khwaja Mere Khwajaseduce Akbar such that he gets up from his
throne in a trance andthrows himself in the dance with them. For this scene
alone, the filmis worth the ticket money and three hours plus spent.
Review
Jodhaa Akbar
Movie
Jodhaa AkbarDirector
Ashutosh GowarikarProducer
Ashutosh GowarikarMusic
A R RahmanCast
Hrithik Roshan, Aishwarya Rai, Sonu Sood, Kulbhushan Kharbanda
Sonia Chopra
AR Rahman’s lilting music; Ashutosh Gowariker’s masterful
direction;two supreme stars that look like they’ve been living their
rolesforever. If one expects the world of Jodhaa Akbar, it’s not without
reason. And does the film stand up to these expectations? Yes, when it comes
tograndeur, beauty, opulence, aesthetics and soul. But you’d be mistakento
compare it with Gowariker’s recent works including Lagaan and Swades. Jodhaa
Akbar has a much more simplistic treatment; at best a mish-mash of a love story
and a historical drama.
After the first few minutes of the film that sound more like a historylesson,
we are introduced to the story of Rajput princess Jodhaa, whois forced to marry
Emperor of Hindustan Akbar for purely politicalreasons. Their love blossoms
ever so hesitantly and tenderly amidst thetall towers of the Mughal palace. The
moments stolen by this pair areheartwarming, as is their love founded on a
strong base of friendshipand mutual respect. While Akbar dotes on Jodhaa who
insists onretaining her religion after marriage and even demands that a temple
bemade in her chambers; she, in turn, is the wife who stands by herhusband
through everything. Lovers’ tiffs, misunderstandings and makingup continues
while you let out a slight yawn. There’s even asword-fighting scene between the
two; call it a yesteryear equivalentof the basketball challenge between these
very two actors in Dhoom 2.
Meanwhile we are made to follow the parallel stories of politicalbetrayals,
acquisitions and bloody wars. That Akbar is the ideal kingis hammered into you
till you want to scream that you get it; heck,there’s even a full song called
Azeem-o-Shaan Shahenshahthat his people sing for him! That he’s brave and all
is portrayed in atotal filmi scene where he fights a raging elephant
bare-handed. It’shis hobby, we’re told. That he’s molten-hot is told to us in a
rathersweet portion where he practices sword-fighting bare-chested, even asthe
new queen Jodhaa shyly snatches a lusty glance or two. If one wereto rate the
film only as a love story it would score full marks; it’sjust the added burden
of the other tracks that make the filmcumbersome.
There’s an attempt at striking a balance between pure storytelling and
showing off the big bucks spent on the film through lingering shots of
the sets and the jewellery. There’s also a clear intention of making
this historical film in a modern style using abrupt transitions between
shots rather than the usual fade-ins and fade-outs; something one
wishes Gowariker had used instead of the incongruous swipes. One
expected a little more layering of the story from Gowariker who has
chosen to tread the simplistic path. The simple, straightforward
narrative, while more commercially attuned, is underutilising
Gowariker’s prowess as filmmaker.
What’s truly interesting about Jodhaa Akbaris the peaceful message of communal
harmony and tolerance that the filmgives without making an overt statement.
Also laudable is the messagethat an ideal marriage can exist only through
mutual respect andequality, that being the basis of a strong foundation of
lasting love.
Of the cast, Hrithik is just mind-blowing as Emperor Akbar; there could
not have been a more appropriate casting. Aishwarya Rai Bachchan, with
her subtle make-up and bejeweled look, is great as well, often
reminding one of her recent portrayal as Sujata in Guru. The supporting
cast does very well. Ila Arun as the scheming and possessive caretaker
is superb as is Sonu Sood as Jodhaa’s brother. Poonam Sinha looks
graceful and does well. Kulbhushan Kharbanda is alright, even though a
bit hammy. The list of great actors who’ve done a great job and
supported the film jointly on their shoulders is a long one.
Technically the film is brilliant, but that’s stating the obvious,knowing
Gowariker’s past work. The camerawork (Kiran Deohans) is great,though
unnecessarily mobile, especially in the battlefield sequences.Editing had to be
tighter; no doubt about that. Music by AR Rahman isbeautiful, but some songs
like Jashn-e-Bahar and Khwaja Mere Khwaja are special.
As for the writing (Haider Ali and Gowariker), the film is writtenwell;
especially the little moments between the two feisty lovers.Talking about
writing, there are some scenes beautifully thought outand excellently executed
that just steal your heart away. Like the onewhere a posse of Sufis singing
Khwaja Mere Khwajaseduce Akbar such that he gets up from his throne in a trance
andthrows himself in the dance with them. For this scene alone, the filmis
worth the ticket money and three hours plus spent.
The sets (Nitin Desai) are breathtaking and precisely authentic,
without being over-the-top, thank god. Costumes by Neeta Lulla are
fabulous and most of the jewellery adorned look like pieces of precious
art.
If you can forgive the length of the film and sit through the political
machinations that hold your interest only occasionally, there’s a
soulful love story enacted by two very enigmatic actors. You don’t get
to see that very often these days. Go for it, I say!
Verdict: Three stars
