Reviews

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.

That Sriram Raghavan is one of Hindi film industry's (I prefer not to use the term Bollywood) most underrated director is well known. But somehow even his movies are under publicized. A brilliant masterpiece thriller like 'Ek Hasina Thi' went almost unnoticed, and as if history was repeating itself now 'Johnny Gaddar' (JG) too released, and before the blink of an eye got lost in to oblivion.

Before I critique this movie any further, and before the so-called "movie reviewers" pounce on me for overtly praising JG let me put in a small disclaimer. If I were to watch this movie meticulously with an eye like Sir Sherlock Holmes then this movie has several logical flaws, not to mention that it lacks a sense of originality and borrows heavily from its predecessors (other murder-mystery movies).

But then isn't that how a murder-mystery/thriller is supposed to be? So typical in its approach. A plot, a plan, a fallout, and the suspense-filled climax. And yet it is this aura of uncertainty in its stereotype characters that drive us to the edge of our seats. Just like the James Hadley Chase novels, which our protagonist (Neil) keeps reading. In short, if you are the kind who grew up on thriller movies and understands the dynamics of the plot, this one is for you. It will keep you guessing until the fag end of the movie.

Let me contradict myself a bit here and say that the treatment of JG is definitely different. It starts where most suspense movies would end. You know who's done the deed (there's no suspense about that); you know why he did it; you also know how he did it. What you don't know is how the hell is the movie going to proceed. And what you would want to know is, what's going to happen next? Where does our man go from here?

Unlike the revealing clothes that heroines wear in Hindi movies, I prefer not to reveal even a frugal part of the plot/story, lest it deprive audiences of the sheer pleasure of watching a suspense thriller. Let me just say that JG is one hell-of-a slick thriller. It has a flavor not found in today's cinema. JG is a tribute to many thriller and pulp movies you might have seen, reminiscent of the golden-era of Vijay Anand's thrillers like 'Jewel Thief', and 'Johnny Mera Naam'. See it if you have a penchant for retro thrillers; don't if you want to analyze and deconstruct the movie.

If you thought that the 60's and the 70's was just about Rock and Roll, drugs, and retro clothes, think again? The 3-R's - Revolution, Rebellion, and Rock n' Roll - dominated most young minds. Rural India was subjugated. Independence was a mere farce (It's a different issue that it still is). Amidst all this chaos, the youth of India were driven towards various Ideologies. But how many of them were serious about the paths they chose? It was a fad during the 60-70's to indulge in drugs, rock n roll and college morchas. Most students entered college politics and turned into rebels, who were against the capitalist values of the society and the government in general. But not everyone was serious. Once their "wonder years" were through, these so-called socialist preachers, born with a silver spoon, backed away in testing times. But, then there were those who took this path seriously to a different level. Those who gave up luxury, and dreams of a "settled" life with wife and kids for the benefit of those Indians who suffered due to the Government's apathy.

Hazaaron Khwaishein Aisi (HKA) is the story of such turbulent times during the India of the 60's and the 70's. The Emergency, the Naxalite movement, the domination of government in every decision Indians made. It is the story of three people who lead contrasting lives, with contrasting ideologies, and how their lives are intertwined.

If Siddharth (Kay Kay Menon) gives up his luxurious ways to reside in the villages of Bihar and start the Naxalite movement, Geeta (Chitrangada Singh) decides to pursue studies, only to eventually unite with Siddharth and support him in his mission. On the other hand, Vikram (Shiney Ahuja) chooses to be a middleman, or broker, of sorts, fixing dubious deals for the government and the capitalists.

This is a movie about ambitions, of desire, of love, and politics. If Siddharth continues his undying mission to form a strong Naxalite movement; Geeta, in spite of being married to Arun (Arif Zakaria), supports Siddharth from the outside as her lover, and confidante. It is as much about Geeta's own struggle of making the right choice: marriage, ideology, love, and as much about Vikram who, in spite of being a womanizer, continues to love Geeta and willing to go to any extent only to be in Geeta's good books.

HKA is a reminder to the youth of today that there were times when young blood was idealistic and not idle-istic. It is a dark reality, and a bitter truth of the struggle, which many went through during those turbulent times. Maybe the youth should wake up to such calls, and not just work in call-centers, lest we downgrade to a society where we might again be dominated and Independence becomes a facade.

Director Samira Makhmalbaf in her movie Sib (The Apple) speaks of how two young girls are confined to the four-walls of their house. At a time when women are treated on par with men, it is saddening to see that there are places in this world (Iran for one) where people still consider it taboo to educate the woman child, or as in this movie even let them outside their homes to see how the world looks like.

There's more to it. Their father is a 65-year-old beggar and their mom a blind lady who is paranoid about her daughters going to school or even outside their house. Their folks don't ever keep the girls clean. They are even deprived of a decent bath all these years. The result: The girls are unable to think like normal kids and grow up slightly deranged. Other than the blooming flowerpot outside their house and the sun, the girls have hardly witnessed what God's creation (Earth) looks like. This mere fact shocks viewers IMMEDIATELY. The pathetic plight of the girls will make viewers reach for their hankies.

But there's hope. They do get to come out and see the world and learn things when a social service organization helps them out. What happens, next and how they do it is for you to see.

The movie in its entirety moves more like a documentary and less like a movie. It is definitely not the run-of-the-mill cinema. In-fact it is on a higher plane than even commercial cinema. The social message is so powerful that the movie leaves a strong impression about the future of the woman child in places like Iran etc.

Critically acclaimed, Samira directed this movie when she was only 19. Kudos to her. At a age whilst most of us haven't even figured out life, here is someone who speaks of social problems plaguing third world countries. Must view for those who look for a social message in movies.