Movie Review Jodhaa Akbar
Critic Rating :
By movietalkies
Friday Feb 15 3:14 PM
One of the greatest motion pictures of our time,
Jodhaa Akbar is a sixteenth century epic romance with
heavy doses of electrifying drama and wide canvas
battle sequences. Possibly the most ambitious and
gutsy film to come out of Indian cinema in recent
years, possibly decades, Jodhaa Akbar is unchartered
cinema territory, breaking new ground in its filming
and its mise-en-scene.
Ashutosh Gowariker takes on the mammoth task of making
a prequel to Mughal-E-Azam, writing the possible love
story between Emperor Akbar and Jodhabai, which starts
as a marriage of alliance when King Bharmal of Amer
gives his daughter's hand in marriage to Emperor
Akbar. From the Battle of Panipat where the
thirteen-year-old Jalaluddin was crowned to his
conquests and his benevolent and just role that won
him the title of 'Akbar,' meaning 'The Great,' the
film traces the graph of the mighty emperor and his
love for the defiant Rajput princess. While
Mughal-E-Azam was Salim's love story, Jodhaa Akbar is
Akbar's love story. No other comparisons can be made
between these two films, and both are masterpieces in
their own right, rich and wide in their stagings. But
Jodhaa Akbar is a film for today, contemporary in its
outlook, with the central love story flavoured with
political conspiracies and palace intrigue, and a very
important film that besides its dramatic entertainment
also makes us realise the many shades of secularism
and its importance.
Hrithik Roshan as Akbar is magnificent, giving a
fantastic performance that has to be seen to be
believed; his vocal intonations and commanding
expressions, working every facial muscle in delivering
his lines, makes you almost believe he is a Mughal.
When he proclaims 'Yeh hamaara Mulk hai' or when he
says 'Hamle ke liye tayyaar' or when he admonishes his
religious adviser Saadir Adasi in his court for
interfering in matters of governance, you realize what
a fine actor Hrithik is. Gowariker may have taken his
time to make this film, but the effort is all there on
the screen. You see a mature Hrithik who not only
delivers fine dialogue with great command, but
Gowariker puts him through an elephant taming
sequence, a sword duel with Jodhaa, battles, and a
climactic combat with the main villain; making good
use of the build and prowess of the star, the director
makes this magnum opus as young and contemporary as
possible and at the same time vividly detailed in
time.
Aishwarya Rai Bachchan as Jodhaa is so real and
convincing as a Rajput princess that you feel she has
never before looked so good in a role. Aided by the
grand jewellery and costume finery, she shines as the
princess who makes the greatest sacrifice for her
people, consenting to a marriage of alliance with the
Mughals. The grace of her swordplay coupled with some
fine horse-riding makes you wonder what kind of
preparation went behind this film. Kudos to Gowariker
for making his stars every inch the character they are
enacting, and more.
Besides the eponymous pair, every actor puts in a
splendid performance, but worthy of mention above all
supporting players is Ila Arun as Maham Anga, Akbar's
mother-like figure and guide, who has been
instrumental in bringing up the young Jalal and now
guides him in his governance. Sonu Sood as Jodhaa's
brother is also commendable, and Nikitin Dheer as
Sharifuddin, Akbar's treacherous brother-in-law, is
menacing and a worthy adversary to Hrithik's Akbar.
The cinematography by Kiiran Deohans is regal and
sweeping, be it capturing the romance between the
players or the action in the battle sequences; from
the harsh sun-draped landscapes of Rajasthan to the
torch and candlelit interiors of Agra fort, the
lighting is impeccable, with all visuals aided by the
rich production design of Nitin Desai. The costumes by
Neeta Lulla and the jewellery by Tanishq add to the
wondrous staging, creating imagery that speaks
volumes. Momentum to the romance and the action
on-screen is given by crisp editing by Ballu Saluja
coupled with Rahman's magnificent background score,
and the songs also work well with the screenplay.
Khwaja mere Khwaja is divinely shot, and Azeem-O-Shaan
Shahenshah is a song that is so grand in its
picturisation that it makes you wonder how Gowariker
and his choreographers Rekha and Chinni Prakash
actually managed it! Hundreds and possibly thousand
plus dancers create choreographed geometry that
challenges all that has been done to-date in Indian
cinema.
A great film that is undoubtedly Gowariker's labour of
love, with every department standing by his vision and
helping it come alive on celluloid. The spectacular
scale coupled with the veteran director's sensitive
and emotionally evolved direction, a rare combination
in Indian cinema, makes this film unique. Jodhaa Akbar
will rule cinemas!
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