Jodhaa Akbar
Minimum Distance
Todaymarks the premiere of Jodhaa Akbar here and the reasons for wanting
towatch this film are simple - the pairing of Hrithik Roshan andAishwarya Rai
Bachchan, director Ashutosh Gowariker, and musician A.R.Rahman. It's simply an
irresistible combination, one that everyone inthe cinema hall would attest to,
given the full house, and the fullhouse in the next screening.
Jodhaa Akbar is set in the 16thcentury, which tells of an arranged marriage for
strategic alliancepurposes that blossomed into true love between a Mughal
emperor,Jalaluddin Mohammad (Hrithik Roshan) and a Rajput princess
Jodha(Aishwarya Rai Bachchan). In fact, as how most historical epics wouldgo,
such as the likes of Alexanderor peer Bollywood film Asoka (starring Shah Rukh
Khan), while effortsare placed into extensive research to try and stay as
authentic aspossible, there still are various interpretations to characters,
someof whom will be taken to task (like Oliver Stone's vision of ColinFarrell
as Alexander the Great)by audiences. The contention here is the story behind
Jodha, and thevarious names she goes by with different retellings, and that is
put upfront even before the opening credits start to roll.
DirectorGowariker's pedigree with his successful epics like Lagaan and
Swadesputs him in good stead as he tackles this love story on multiplefronts.
In fact, as he puts it, it's a story about the meeting of twocultures and two
religions, so basically, what's in a name? Sometimes Iwonder about similarities
with the formation of big countries as weknow it today, with China undergoing
multiple civil styled wars in bidsby conquerors to unite it, and with India, it
seems that it's nodifferent. We get to see the multitudes of ethnic groups,
each withtheir unique practices which we were given glimpses on, thanks to
thesuperb art direction and wonderful, authentic sets recreated.
JalaluddinMohammad hails from the Mughals, and is a Muslim, who from young
istold by various quarters what to do, and how to lead his life asEmperor of
Hindustan. He gains a reputation on the battlefield, whichcould parallel those
in Hollywood in terms of sheer scale and grandeur,even utilizing hordes of
marauding elephants and settled into some ickyterritory when elephants rampage
and stomp on soldiers. Blood aside, wesee Jalaluddin slowly become a man of his
own, and in a bid to forge astrategic alliance, he's offered the hand of Jodha
Bai. However, thisarranged marriage was doomed a failure from all quarters,
because ofthe difference in religion (she's a Hindu) and culture.
Furthermore,the reluctant Jodha makes it all the more difficult by asking for
2conditions, that she be allowed to practice her religion, and to builda shrine
in their bridal home. He agrees.
And in today'scontext, I would say this act of proposition and acceptance would
alsoraise some eyebrows sky high. But herein likes the key message thatgets
drummed through the movie - why can't we love despite ourdifferences? Why can't
we enjoy the diversity that each religion orculture bring, instead of baying
for blood and inciting hatred? JodhaaAkbar has its message of (religious)
tolerance worn very prominently onits sleeve. It's quite radical and forward
thinking in Jalaluddin'scharacter, and we feel for the couple as they go
journey from strangersto soul mates overcoming the various challenges posed
from the outside,and between themselves as they try hard to break the thick ice.
Butit's not all lovey-dovey in turmoil times like theirs, wherepoliticking
takes place from the macro with the constant threat of warand the running of a
country, to the micro where internal jealousiesand the defending of personal
turf rear their ugly head, which kind ofreminisce the many petty backstabbings
found behind closed royaltydoors, with Jalaluddin's nanny Maham Anga (Ila Arun)
proving to be theattempted spoiler and go between in the marriage. And to
leaders outthere, there's a scene which while it's something that's not new,
isalways apt to remind them not to sit on their ivory towers, but to walkthe
ground and hear the grumbling first hand, as nothing beats groundlevel
intelligence.
In most parts, Jodhaa Akbar had reminded meof Cecil B DeMille's historical
productions, with its beautiful sets,costumes, great acting, and intense battle
sequences. There are acouple of nice action set pieces ranging from full scale
war with theclashing of two opposing sides (the elephants were a great bonus,
trustme), to a duel which turns out to be a courtship ritual, something notnew
since both Hrithik and Aishwarya challenged each other before(though on the
basketball court), with the latter quite well versed in swordplay given her
earlier role in The Last Legion, and one featuring what I thought took a leaf
out of the battle between Hector and Achilles in Troy.
Ofcourse, no Bollywood movie will be without music and dance, and here,it's
done quite tastefully as you don't expect sudden outbursts intosong. The music
by A.R. Rahman is top notch as usual, and dances herehappen naturally as part
of the narrative flow, with the first songcoming out only just before the hour
mark. Needless to say I foundmyself tapping my feet to almost all of them.
There are a numerous pluspoints in this blockbuster, and if I'm telling you I'm
getting the DVDwhen it's released, I'm already giving this a vote of confidence
thatit's a contender to make it to my top 10 movies of the year.
Highlyrecommended! Oh, and you'll have to watch this yourself to find out
ifHrithik and Ash did sizzle after their locking of lips in Dhoom2!
P.S.Running 213 minutes, I was thankful that the intermission was grantedby the
cinema operators for you to stretch your legs, and release theload in your
bladder.
http://anutshellreview.blogspot.com/2008/02/jodhaa-akbar.html
