http://dearcinema.com/jodhaa-akbar-a-saga-losing-focus/
Jodhaa Akbar did not quite live up to my expectations. There were grand sets, glittering jewelries and dazzling costumes, representing the Mughal and the Rajput royalty in an elegant way. But what was lacking is the track by which one can follow the film through, writes *Pranjal Medhi* [image: Jodhaa Akbar: A Saga Losing Focus]<http://dearcinema.com/wp-content/uploads/2008/02/jodha-akbar-3.JPG>It was a warm sunny afternoon of January, 2006. I stepped into the Khar Office of Ashutosh Gowarikar. The reason was to capture a formal interview of the reputed director, which eventually took the form of a casual chat. We already knew that he is into his next venture. Jodhaa Akbar was just planned then, the pre-production work had just begun, although it was keeping Mr Gowarikar quite busy. I understand that making a film is not a joke. Despite the time crunch, he spent almost two hours with us and also treated us with a sealed pack of my favorite Fererro Rocher. Wow, what a nice man he is, I thought. While our off-the-camera chat was on, I casually asked him, "When can we expect your next venture AKBAR JODHAA?" Quite protective about his baby, he instantly corrected me, "It's 'Jodhaa Akbar', not 'Akbar Jodhaa'. We are going to name it like that only". I could clearly see the passion in his eyes for his new venture at that time, and that is the reason why I was expecting so much from this flick. Well, just to mention, I liked Lagaan and specially Swades, which was great story-telling with an ardor to aesthetics and technical aspects. In the same line, I anticipated this new venture to be an epic after a long wait of two years. But, Jodhaa Akbar did not quite live up to my expectations. There were grand sets, glittering jewelries and dazzling costumes, representing the Mughal and the Rajput royalty in an elegant way. But what was lacking is the track by which one can follow the film through. There was no single area of focus where the film concentrates and carries the narrative ahead. I was so confused whether the film is about the eternal love story of Rajput princess Jodhaa and the young emperor Jalaluddin Akbar or about Jalaluddin's transformation to Akbar "the Great". Whether it was about the rivalries among the Rajput kingdoms or a showcase of Hrithik's bulging muscles and his proficiency in sword-fighting. There were lots of nicely shot and edited sequences individually, but then when they were all put together, the final product is too lengthy (or should we call it loose?) and speckled. The childhood sequence of Jodha was nice, but then I read in a Bollywood tabloid that a few scenes were axed by the distributors, which included this childhood sequence. I still don't know whether I saw the full version or the axed part, but it is too unethical of the distributors to cut off the final print just for their whims and fancies. Business is an integral part of a film, but to axe it is destruction or distortion of someone's piece of creation. The director deserves accolade for executing some great flawless scenes. I was particularly struck by the scene in which Akbar tames a wild elephant. It was so real that anyone would actually feel the jeopardy that Hrithik goes through while filming it. Another scene worth mentioning is the beautifully choreographed sword-fight sequence between Jodhaa and Akbar. It is an ultimate poetic expression of love at its artistic best by the director. Hrithik stands out in the challenging role of Jalaluddin Mohammed Akbar. Under sharp eyes of comparison with the likes of Prithviraj Kapoor, Hrithik leaves no stone unturned to get into the skin of the Mughal emperor. It was rather tough for him as the role has two sides of the coin, an eternal lover and an emperor. But he portrays it very convincingly and young, handsome Akbar comes to life with Hrithik Roshan. If we talk about body language, Prithviraj Kapoor (Mughal-e-Azam) used to put his hands on his back while standing, a clear illustration of royalty and pride. Here too, Hrithik keeps his hands folded on his chest while addressing someone, carrying a message of great power and responsibility. Aishwarya Rai Bachchan is looking almost believable in the role of the Rajput princess Jodhaa. The costume also plays a significant role in providing a periodic look to the character. Her acting comes as quite natural, at par with that of Hrithik's, we can say. Both are excellent in sword-fight sequences and that's one thing that would stun all. Coming back to performances, most of the characters were convincing, especially those of Sonu Sood (Sujamal), Poonam Sinha (Akbar's mother), and Suhasini Mulay (Jodha's mother). Technically the film raises the bar of the way films are being shot in India. With a huge budget, the high production value is very much prominent. The cinematography was superb, putting aesthetics into perspective. Kiran Deohans has proved his mettle in cinematography with his magnificent style of capturing this grand saga. The use of warm light and the source lighting provide a feel of the era we get into while watching this period film. The war sequences are shot stylistically using the modern-day equipments. The first war sequence is a visual treat, but lacks the punch, maybe due to loose editing. The final sword-fight and fist-fight between Akbar and Sharifuddin reminded me of Troy. It would be an injustice if we compare the war sequence of an Indian film to a Hollywood one. But the way Troy was embossed into my mind, I just could not resist myself from doing this unfair comparison. Even then, Jodhaa Akbar proves its mettle with grandeur of sets, costume and jewelry. The Aan, Baan Aur Shaan of Rajputana and the royal majesty of the Mughals are marvelously exhibited in the film through the stunning art direction of Nitin Desai and the brilliant cinematography of Kiran Deohans. The music and background score by A R Rahman is appealing. "Khwaja Mere Khwaja" grips you with its heavenly notes. The romantic number "Kehne Ko Jashne Baharaa Hain" is melodius and already a big hit. Sonu Nigam pours his heart in the song. Another unique composition is the Azeem-o-Shaan Shehenshah, which actually grows into the listener. What is more significant here is the way the songs are being filmed by Mr. Gowarikar. When Hrithik stands up and gets immersed into the spirit of the Khwaja song, dances to the notes of Sufism, the expression of his eyes was just out of this world. Finally, we can say that only sets, costumes and performances do not build a film. It is the narrative and the conflict that build up the drama and grip the viewers. Jodhaa Akbar loses its focus there. There are a few moments in the film where people would think this is the climax, but the film still drags on. It's mostly based on folklore and legends rather than actual historical evidences. The director takes his creative freedom, having recourse to it profusely. The editing could have been far crisper and swifter. But technically it stands out despite all the criticism. It could well be termed as a superior example of the elevation and aptitude of the aesthetic sagacity of the Indian film industry. -- regards, Vithur AIMING TO BE A TRUE RAHMANIAC
