If there was one sequence in Jodhaa Akbar that singles out what I think of it then that would have to be the swordfight sequence between the two eponymous leads.Essentially the sequence serves two purposes–1)It mirrors Aishwarya’s introduction scene and further establishes Gowariker’s assertion that the two are soulmates separated only by religion, 2)Since the whole exercise ensues because Akbar hasnt been granted his conjugal rights yet the sequence becomes a substitute for a sexual intercourse(’inspired’ from ‘The Mask of Zorro’ is it?).Now, thats good writing in my book, but–BUT–the way the scene is staged is so insipid and so pat that it almost embarrassing to watch.
Looking at it holistically the film , save for the bland didactic discourse on secularism, is an honest effort that doesn’t really boast of any stellar auteur ship.Not much of an improvement from Swades, in my opinion(although the latter did have its fair share of affecting moments).
Gowariker follows the same pattern of every other historical epic - way-above-average length of scenes, to allow for the epic ‘feel’ to kick in, and so we can appreciate the money spent ; solemn dialogues of sententious banality, which extend a single plot point to ‘epic’ length; a generally sombre, slow mood seared with flashes of impenetrable violence (though we hardly see any blood); massive scenes of ceremony and pomp; a frigid love story flattened by inexorable history and forbidding architecture; camp villainy.And just like most directors before him the cumbersome equipment, a cast of thousand extras and a dinosaur script defeat Gowariker[though I might add, I havent really liked any historical ‘epic’ I have EVER seen except ‘Spartacus‘, and Kubrick only managed to free himself by making his film a transposed Western]Though it is to Gowariker’s credit that Jodhaa Akbar doesnt end up looking like an updated Computer Game like Gladiator(the flip side of it is that the special effects are laughably bad)
Morally and thematically Gowariker is on surer grounds, even though I am not yet sure of whether he was aware of what he wanted to achieve with the film.The rising sun and the cloud covered moon portending to different chapters in the film, the grey-blue misty light signalling disillusionment, the sprinkling of a few light moments here and there bear testament to this–but the inertia shown in the narrative is that of script intractibility.This is precisely obfuscates the machinations of power and society that shaped the history.Technically the film is perfunctory at best–good ‘ol wipes is a curiously witless anachronism, the camera work is mostly prosaic.
Hritikh Roshan expectedly underwhelms as Akbar.While this, in my opinion, is his most effective performance yet, the statuesque persona and regal gaze are conspicuous by their absence.This isnt a bad performance by any means, but you just cant beleive that Akbar was like this.Aishwarya Rai in comparison fares slightly better.Again reinstating the fact that a decent co-star and a good setting can extract decent performances from her, unlike those interminable hammy performances we have seen from her.From the supporting cast, Ila Arun is the only stand out.Sonu Sood, curiously resembling Amitabh Bachchan hits flat notes throughout.
To sum up–Jodhaa Akbar is an enervating spectacle like Gowariker’s previous two outings, but hardly as engaging as them.