One of the Greatest Motion Pictures of Our Time

By MovieTalkies.com, 15 February 2008 4.5 / 5

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!

A Royal Treat

By MovieTalkies.com, 01 February 2008 4.5 / 5

It goes without saying that the hype and expectation surrounding Ashutosh Gowariker’s epic, Jodhaa Akbar, is almost sky high. The film’s promos have rightly gone on to whet one’s appetite for the feast to come. The music of the film, composed by A R Rahman, who is royalty where music composers are concerned, in tandem with lyricist Javed Akhtar, has succeeded in taking the baton further in arousing and creating a sense of awe and majesty about the film. The stamp of royalty is more than evident as one goes through the music of the film. And there is no place for anything frivolous here. Rahman sets the tone with the very first number of the album, Azeem-O-Shaan Shahenshah sung by Mohammad Aslam and Bonnie Chakraborty. It is a rousing paean in praise of the Emperor and Akhtar’s lyrics capture the mood wonderfully--- Azeem-O-Shaan Shahenshah, Farmaa-Ravaan, Hamesha Hamesha Salaamat Rahe, Tera Ho Kya Bayaan. There is a kind of gravity to the lyrics which does full justice to the mood and intent of the song. Coupled with music which conveys the sense of grandeur, this number captures the epic feel of the film. The singers have it all laid out for them and they do full justice to the number. The second number, Jashn-e-Bahaaraa sung by Javed Ali is a much more private number in tone, but its language is just as impressive as the first number. The poet conveys the insecurity and anxiety that grips lovers, an emotion that afflicts emperor and commoner alike. Rahman’s music does full justice to the emotion, with music that is full of dignity and restraint. The true gem in this album one feels is the ‘sufiana’ number ‘Khwaja Mere Khwaja,’ sung by Rahman. It is not the typical filmi sufiana number that one has grown accustomed to hearing. History tells us about Emperor Akbar’s great faith in the Sufi saint Salim Chishti, and this number reveals a true communion with the Almighty with its rare combination of purity and devotion. One cannot think of any other voice but that of Rahman’s which has that in it to form a bridge with the Almighty. The album also carries an instrumental version of this song as well and the magic is evident here too. Even without the support of Rahman’s vocals, the piece has a ‘therav’ and an unusual calmness to it. By far, the most moving number of the album. ‘In Lamhon Ke Daaman Mein’ shows a shift from the realm of the purely spiritual to a different call of the spirit, that of romantic love. Sonu Nigam and Madhushree come together for this utterly romantic number, which is quite dramatic in the manner in which it has been composed. The first shift in tone takes place when the female voice makes its entrance. The tone becomes even more intimate with the male voice making its entry at the end. The chorus in the background adds to the dramatic effect of the song. The three distinct shifts in the song almost parallel the progression of love and longing. Rahman punctuates the shifts wonderfully with a subtle change in the music and the mode of rendition. Sonu is a seasoned singer, and in company with the mellifluous Madhushree, captures the underlying tension of the song. Set against the purely sufiana number is an exquisite bhajan number, ‘Mann Mohana’, another offering of love to the divine. The number seems to set against a stormy and tumultuous background and comes as a voice in the darkness. Bela Shende gives a masterly rendition to the number, maintaining the delicate balance between the divine and the human. Jodhaa Akbar is definitely not your run-of the-mill film and its music has a quality of exclusivity to it. It is everything that one would expect from a film of its grandeur and scale. The meticulous choice of words by Javed Akhtar and the masterly touch imparted by Rahman’s music all go on to make it a true connoisseur’s delight. It has a beauty which is akin to classic Greek art, with its balance of emotion and restrain. Truly a royal treat!

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