Going back in time and making a period movie has been an obsession for many in the film industry. Be it K Asif's 'Mughal-e-Azam', or Shah Rukh Khan's 'Asoka', the challenges faced by an actor, director or producer to recreate a bygone, powerful era seem to draw the film industry to period themes time and again. This time, it's Ashutosh Gowariker. The director attempts to bring alive Akbar's love for his wife Jodhaa Bai on celluloid with 'Jodhaa Akbar' (JA).
History has always been ambiguous, not to mention controversial. JA is no exception. A lot has been said about the ambiguity of the name Jodhaa Bhai, thanks to the controversy surrounding it. The director too has wisely added a disclaimer at the beginning of the movie regarding the ambiguous nature of the name of Akbar's Hindu wife. Some Historians refer to her as Hira Kunwari, others as Mariam-uz-Zamani, and few others as Jodhaa Bai. So let's leave that topic at peace and assume that Jodhaa Bai was the real name of Akbar's Hindu wife.
Nonetheless, was Jodhaa Bai the only wife of Emperor Akbar? No. And there is absolutely no ambiguity on that part. Why then does the director choose to glorify the love of Akbar for his wife Jodhaa Bhai only? And that too in typical Bollywood fashion. As is known, the Moghuls, and of course Akbar, married many Hindu princesses to enter into pacts with Hindu Rajput rulers and expand the Moghul empire. The motive was clear - expanding one's empire skillfully, without war or bloodshed. Definitely a noteworthy strategy and a humanist approach. But with so many wives did Akbar really devote exclusive time to only one of his wives, to the extent that he croons around with her. Possible, yes. But by not mentioning any of Akbar's other wives the director lends a very unbelievable feel to the entire story, typical of every Bollywood story. But then, this is Bollywood and maybe the director consciously intends to tell a love legend and not history.
JA is not the story of Jallaluddin Muhammad Akbar, or Akbar as he is popularly known. It is a saga of an Emperor who falls deeply in love with his Hindu wife and the circumstances surrounding this immortal love. A kind of post arranged-marriage love story. Interesting indeed, especially considering that not too many movies dwell on this subject.
Akbar is not only a lover but also an Emperor and JA goes beyond just narrating a love story and tries (well, almost) to delve into the virtues and vices Akbar was popular for. How Jallaluddin shoulders the responsibility of the Moghul Empire and strategically expands it, in the process winning over the love of his countrymen forms the rest of the story.
Unfortunately, such a story telling does little to keep the audiences' interest intact. Depicting the life and times of Akbar does not qualify for interesting storytelling for the simple reason that Akbar was an able and efficient Administrator who skillfully expanded the Moghul Empire, often with little or no conflict. And a script without much conflict fails to keep restless audiences glued to their seats.
However, JA is not completely devoid of conflict and the usual twists-in-the-tale. But these are trivial to qualify as interesting or unpredictable. No wonder the director chooses to concentrate on the love-angle between Akbar and Jodhaa instead. A laudable aspect of the movie is that the script does try to suffuse the tale with many aspects about Jallaluddin. Be his liberal outlook on religion, his interest in mysticism or his prowess in warfare. Yet, the movie moves at a very languid pace concentrating heavily on the equally heavy costumes, and jewellery of that era.
The art direction too is magnificent and transports one to the Moghul and Rajput era. Music is yet another area where A R Rahman breaks new ground and instills the tale with his masterpieces which are as beautifully fused as the love between Akbar and Jodhaa. The track 'Khwaja Mere Khwaja' is sure to teleport you to another world, the picturisation beautifully depicting Akbar's interest in Sufism.
Casting is more or less perfect. Hrithik is one hero who has proved himself capable of going beyond superhero roles. His body-language, the gait with which he carries himself and the ease with which his eyes express love for his beloved will make women go weak in their knees. Although Aishwarya fails to convincingly portray herself as a Rajput warrior princess (her poor stance and weak gait while clasping the sword), she more than makes up for it as Mallika-e-Hindustan (Queen of Hindustan).
Albeit miserably failing in a crisp and interesting script, JA excels in technical aspects, art direction, music, and other creative and technical areas. Commercially its fate depends on audience sensibilities. If mundane jewellery and splendour is what they are expecting, which I fear many do, then JA will spell success for Ashutosh. If a historically well told tale, with an interesting storyline is what audiences prefer then JA will fail to get the cash registers ticking.
History has always been ambiguous, not to mention controversial. JA is no exception. A lot has been said about the ambiguity of the name Jodhaa Bhai, thanks to the controversy surrounding it. The director too has wisely added a disclaimer at the beginning of the movie regarding the ambiguous nature of the name of Akbar's Hindu wife. Some Historians refer to her as Hira Kunwari, others as Mariam-uz-Zamani, and few others as Jodhaa Bai. So let's leave that topic at peace and assume that Jodhaa Bai was the real name of Akbar's Hindu wife.
Nonetheless, was Jodhaa Bai the only wife of Emperor Akbar? No. And there is absolutely no ambiguity on that part. Why then does the director choose to glorify the love of Akbar for his wife Jodhaa Bhai only? And that too in typical Bollywood fashion. As is known, the Moghuls, and of course Akbar, married many Hindu princesses to enter into pacts with Hindu Rajput rulers and expand the Moghul empire. The motive was clear - expanding one's empire skillfully, without war or bloodshed. Definitely a noteworthy strategy and a humanist approach. But with so many wives did Akbar really devote exclusive time to only one of his wives, to the extent that he croons around with her. Possible, yes. But by not mentioning any of Akbar's other wives the director lends a very unbelievable feel to the entire story, typical of every Bollywood story. But then, this is Bollywood and maybe the director consciously intends to tell a love legend and not history.
JA is not the story of Jallaluddin Muhammad Akbar, or Akbar as he is popularly known. It is a saga of an Emperor who falls deeply in love with his Hindu wife and the circumstances surrounding this immortal love. A kind of post arranged-marriage love story. Interesting indeed, especially considering that not too many movies dwell on this subject.
Akbar is not only a lover but also an Emperor and JA goes beyond just narrating a love story and tries (well, almost) to delve into the virtues and vices Akbar was popular for. How Jallaluddin shoulders the responsibility of the Moghul Empire and strategically expands it, in the process winning over the love of his countrymen forms the rest of the story.
Unfortunately, such a story telling does little to keep the audiences' interest intact. Depicting the life and times of Akbar does not qualify for interesting storytelling for the simple reason that Akbar was an able and efficient Administrator who skillfully expanded the Moghul Empire, often with little or no conflict. And a script without much conflict fails to keep restless audiences glued to their seats.
However, JA is not completely devoid of conflict and the usual twists-in-the-tale. But these are trivial to qualify as interesting or unpredictable. No wonder the director chooses to concentrate on the love-angle between Akbar and Jodhaa instead. A laudable aspect of the movie is that the script does try to suffuse the tale with many aspects about Jallaluddin. Be his liberal outlook on religion, his interest in mysticism or his prowess in warfare. Yet, the movie moves at a very languid pace concentrating heavily on the equally heavy costumes, and jewellery of that era.
The art direction too is magnificent and transports one to the Moghul and Rajput era. Music is yet another area where A R Rahman breaks new ground and instills the tale with his masterpieces which are as beautifully fused as the love between Akbar and Jodhaa. The track 'Khwaja Mere Khwaja' is sure to teleport you to another world, the picturisation beautifully depicting Akbar's interest in Sufism.
Casting is more or less perfect. Hrithik is one hero who has proved himself capable of going beyond superhero roles. His body-language, the gait with which he carries himself and the ease with which his eyes express love for his beloved will make women go weak in their knees. Although Aishwarya fails to convincingly portray herself as a Rajput warrior princess (her poor stance and weak gait while clasping the sword), she more than makes up for it as Mallika-e-Hindustan (Queen of Hindustan).
Albeit miserably failing in a crisp and interesting script, JA excels in technical aspects, art direction, music, and other creative and technical areas. Commercially its fate depends on audience sensibilities. If mundane jewellery and splendour is what they are expecting, which I fear many do, then JA will spell success for Ashutosh. If a historically well told tale, with an interesting storyline is what audiences prefer then JA will fail to get the cash registers ticking.