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Jodhaa Akbar: A splendid movie from the undying era
Gowariker's vision of Jodhaa Akbar subsumed a reined-in wealth of ideas and
images into an opulent and aesthetic tale of love, ideals and secularism.
It's not often that historical films of such cinematic splendour and calibre
are made in India..
*CJ: *Rahul Srinivasan , 2 hours ago Views:*81* Comments:*0*
AFTER MESMERISING the audiences with *Lagaan* and *Swades*, Ashutosh
Gowariker chose a completely different genre to express his cinematic
vision. And he succeeded without an iota of doubt? Well, we need to commend
Gowariker for choosing a subject as cryptic as the love story of Akbar. In
an age where historical films have rarely found support and appreciation
amongst the masses (cannot remember any film but *Mughal-e –Azam*),
Gowariker decided to tread the path, which less able directors would fear to
think of. Never mind the widespread protests in Rajasthan against the
authenticity of the love story, Gowariker's attention to detailing surely
caught our attention.
Gowariker's vision subsumes a reined-in wealth of ideas and images into an
opulent and aesthetic tale of love, ideals and secularism. And that is
something to root for in an age of cynicism and religious warfare. It is not
often that historical films of such cinematic splendour and calibre are made
in India.
The film begins with young Akbar being entrusted the responsibility of the
Mughal Empire following the demise of his father. Although his formative
years are under the tutelage of his father's trusted aide, Akbar very
quickly develops his own ideologies and vows to be a people's king. The film
touched on various events in the king's life, which included his political
alliance with the Rajputs and his subsequent love story with a Rajput queen.
Political vendetta and sibling rivalry form an important part in Akbar's
quest to become a people's king. That is where lied the problem. The film
frequently oscillated between so many diverse situations that the viewer
found it a tad difficult to decide what the main premise is – the love story
itself or expansion of the empire and welfare of the common man. The film
was expectedly on the slower side and its length (three and half hours) did
cause a hindrance to its commercial viability (despite the presence of
superstars).The editor should have used his scissors in a more prudent
manner to give the film a slick look. Despite this glaring gaffe, the film
more than compensated on other counts.
Gowariker's direction was as always first rate. He handled the love scenes
and war sequences with equal aplomb. His job was just made easier by the
adept technicians on board. While Nitin Desai's sets were larger than life
and the costumes rich in colour and appeal, Ravi Chandra's camera-work was
marvelous. AR Rahman's music, as always, was special. Ranging from the
soulful *Jashn–e Bahaara* to the Sufi rendition of *Khwaja mere Khwaja* to
the visually enthralling *Marhaba*, the songs left an indelible impression
in our memory. The love story between Akbar (Hrithik) and Jodhaa (Aishwarya)
was compelling.
The two gave a new definition to love and lust. The eyes said it all and
depicted the sanctity of love. Of the supporting cast, Ila Arun (Akbar's
step mother) and newcomer Niketan Dheer (Sarfuddin) were very competent.
Aishwarya Rai looked stunningly beautiful as queen Jodhaa and delivered a
duly restrained performance. But Jodhaa Akbar truly belonged and belongs to
Hrithik Roshan. Be it his royal gait, impeccable dialogue delivery or
expressive demeanour, he stole the show with his riveting performance. For a
moment, the viewer actually forgot that he is watching the screen character
of Akbar.
The movie was a treat to all history lovers. If you have anyways missed the
movie, I recommend it as a must watch even today because history never dies.
--
regards,
Vithur
ARR -- The Sweet Cube always
