JODHAA AKBAR MOVIE REVIEW

Let's get one thing straight: You haven't watched anything so opulent, so magnificent like this in a long, long time on the Hindi screen. It's not just body beautiful, but there's soul as well.

It requires courage, prowess, patience, aptitude, knowledge, passion and of course, loads of currency to attempt a movie like JODHAA AKBAR. But more than anything else, it requires your firm belief in the subject, the belief to attempt a historical when historicals are considered an absolute no-no in the industry, the belief to spend almost Rs. 40 crores in a film that could go either ways.

Only when you're convinced yourself can you convince millions of moviegoers. And convinced you are after watching JODHAA AKBAR, a film of epic proportions.

Now let's clear a few misconceptions pertaining to the film…

• It's blasphemous to compare MUGHAL-E-AZAM and JODHAA AKBAR. While MUGHAL-E-AZAM was primarily about the legendary romance between Salim and Anarkali, a subject that has been attempted quite a few times on the Hindi screen before, JODHAA AKBAR is about the relationship that the young Akbar shared with Jodhaa.



• A lot has been said and written about its length [3.20 hours]. Does the viewer of today have the patience to watch a really lengthy film in today's times? But once into JODHAA AKBAR, the sequence of events, the drama, the romance, the war… every aspect keeps you mesmerized. Oh yes, the length does pinch you at one crucial point [second hour, which is relatively shorter], when a song breaks out. Otherwise, the 3 + hours are very well spent.



• When you watch historicals like MUGHAL-E-AZAM and RAZIA SULTAN, the usage of chaste Urdu is difficult to comprehend at times. Not here! The language is simplified - Akbar speaks in Urdu, Jodhaa in Hindi - and it's easy to decipher.

As a cinematic experience, it would be wrong to compare JODHAA AKBAR to any of Ashutosh Gowariker's previous endeavors. Why, it would be erroneous to compare the film with any film ever made before in this genre. This one stands out and stands out the tallest.

To sum up, JODHAA AKBAR leaves you spellbound, enthralled, entranced and awestruck. Ashutosh Gowariker makes the legendary characters come alive on screen. Take a bow, Ashu!

Set in the sixteenth century, JODHAA AKBAR is a love story about a marriage of alliance that gave birth to true love between a great Mughal emperor, Akbar, and a Rajput princess, Jodhaa. Little did Akbar [Hrithik Roshan] know that when he married Jodhaa [Aishwarya Rai Bachchan], he would be embarking upon a new journey -- the journey of true love.

The daughter of King Bharmal of Amer [Kulbhushan Kharbanda], Jodhaa resented being reduced to a mere political pawn in this marriage of alliance, and Akbar's biggest challenge now did not merely lie in winning battles, but in winning the love of this defiant princess.

One of the prime reasons why JODHAA AKBAR works is because the present-day viewer is unaware of the romance between Akbar and Jodhaa. Sure, we all know of Akbar as a great emperor, but the love story makes for a refreshing subject. And the execution of a number of sequences makes JODHAA AKBAR extremely special.

Some instances:
* The war sequence at the very outset. You realize the scale and magnitude of the film at the very beginning.
* Hrithik taming an out-of-control elephant. It's hair-raising.
* The two pre-conditions set by Jodhaa, before her marriage to Akbar. Very interesting.
* The confrontation between Ila Arun and Ash at the kitchen, when Ash decides to make the meal herself.
* The immediate sequence, when Ash is asked to taste the food herself by Ila before she's about to serve the food to the Emperor and his associates. Once done, Hrithik demanding that he be served the meal from the same platter that Jodhaa had used.
* The intermission point, which sows the seeds of a misunderstanding between Hrithik and Ash.
* Post-interval, Hrithik returning to Amer to get Ash back to Agra and the welcome ceremony by his mother-in-law [Suhasini Mulay].
* The sword fight the very next morning, between Hrithik and Ash.
* The 'Azeem-o-Shaan Shahenshah' track, when the entire kingdom hails Hrithik.
* The fight in the climax [reminds you of the fight between Brad Pitt and Eric Bana in TROY].
Amazing moments indeed…

Ashutosh Gowariker knows that historicals have to be simplified while narrating on celluloid so that the moviegoer is able to grasp and comprehend the plotline and the sequence of events. Thankfully, JODHAA AKBAR is not in the least difficult to decipher. Gowariker's handling of the subject deserves the highest praise, for it's not everyday that you come across a film like JODHAA AKBAR.

A.R. Rahman's music is not the type that you take to instantly, but yes, it gels beautifully with the mood of the film. 'Azeem-o-Shaan Shahenshah' and 'Jashn-e-Bahara' are the best tracks in terms of tune. In terms of choreography, 'Azeem-o-Shaan Shahenshah' is awe-inspiring, while the execution of 'Khwaja Mere Khwaja' is outstanding. Rahman's background score is simply extra-ordinary.

There's no room for dullness in Haider Ali and Gowariker's screenplay. The writing is tight, the drama keeps you hooked and the romantic track is wonderful. The film also talks of secularism, an issue so vital in today's times. K.P. Saxena's dialogues are amazing. At places, soaked in acid. The writer comes up with several gems, yet again. Kiran Deohans' cinematography matches international standards. The movement of camera at various places, especially in the battlefield, is breath-taking. Also, the D.O.P. captures the grandeur to the fullest. The production design [Nitin Chandrakant Desai] is, again, awesome. Recreating the bygone era requires not just money, but also the vision and Desai proves his supremacy yet again.

Be it the war sequences or the sword fights or general action, Ravi Dewan's contribution to the film is incredible. Especially noteworthy is the fight between Hrithik and Nikitin Dheer in the climax. It's simply outstanding! Editing [Ballu Saluja] is perfect, although the romantic song between Hrithik and Ash can be shortened in the second hour. The costumes [Neeta Lulla] as also the jewelry also deserve special mention.

JODHAA AKBAR also works because of the right casting. It's difficult to imagine anyone else in the role of Emperor Akbar. Hrithik seems born to play this role and he enacts it with such precision, such flourish, such confidence that it leaves you asking for more. A mind-boggling performance without doubt!

Aishwarya Rai Bachchan is superb. Oh yes, she looks ethereal -- a compliment she has heard a trillion times before. What's new in that? But watch her emote in this film. You realize the amazing talent that has hitherto not been tapped by any movie maker. A flawless performance indeed!

JODHAA AKBAR has a host of characters, but the ones whom you carry home, besides Hrithik and Ash, are Sonu Sood [excellent], Nikitin Dheer [fantastic], Ila Arun [electrifying; her finest work so far], Punam S. Sinha [graceful], Kulbhushan Kharbanda [perfect], Raza Murad [effective] and Rajesh Vivek [good]. Amitabh Bachchan's rich barritone voice adds lustre to the magnum opus.

On the whole, JODHAA AKBAR is, without a shred of doubt, a brilliant film in all respects. This historical has all it takes to prove the first blockbuster of 2008. Very strongly recommended!

Deepika with Ranbir and SRK

Bollywood Actress :As reported earlier, SRK and Ranbir kapoor will shoot for a Pepsi Ad. A source close from the shoot reveals that the commercial will also feature Deepika Padukone in a new avtar.

The Ad is said to be shot at kamalistan studios with Shah Rukh , Ranbir and Deepika . The concept will be that Deepika will flirt with SRK and Ranbir in the AD and the ad has been canned already, after some technical work will hit the screens by February 10th.

There is a buzz that Deepika and Ranbir have rekindled their love again as the shooting of the Pepsi Ad has made the two together again and it is also said that Deepika could ditch Yuvraj any moment for Ranbir kapoor. so at last the stars of OSO and Saawariya have met, but poor Sonam must be feeling left out.

Jodhaa Akbar music review

Now this one is supposed to be big. Really BIG! And why not? After all Jodhaa Akbar has:

a) Ashutosh Gowarikar's labor of love finally getting ready to be unveiled after going through grueling shooting schedules,
b) Hrithik and Aishwarya Rai Bachchan coming together again after Dhoom 2, albeit in a different avatar,
c) A.R. Rahman and Javed Akhtar saab collaborating with Ashutosh for the third straight time after Lagaan and Swades and
d) A true historical being brought to celluloid after ages.

No wonder, everything about this film is expected to be flawless and studied to the minutest details. This is why one looks at the music with great expectations. However, it all turns out to be anticipation in vain as Jodhaa Akbar turns out to be the first major disappointment of 2008.

In the praise of Shahenshah Akbar comes the opening track 'Azeem-O-Shaan Shahenshah'. High on orchestra, the track has ‘grand’ written all over it and deserves an opulent treatment to it. Crooned by Mohammed Aslam, Bonnie Chakraborty and Chorus, the track hails Akbar for creating an empire where there is peace, harmony, and great life all around. The song doesn't belong to the kind which could be sung around or played loud at home but would do well when seen on the big screen, provided the picturisation is as lavish as Rahman's efforts.

Javed Ali, who has been trying to make his mark over last 3-4 years, gets a big break in the form of 'Jashn-E-Bahaaraa'. Sounding quite close to Sonu Nigam, Javed does well in his rendition of this slow track that is in complete contrast to 'Azeem-O-Shaan Shahenshah' in its treatment. Javed Akhtar saab's poetry is in full flow for this love song which comes close to the style of 60’s in it's tune and flow.

However, one misses the kind of punch as expected from the first romantic song of the album and the final outcome turns out to be little lackluster with not much in the song pulling a listener for a repeat hearing. Towards the album's end, a 'Flute Instrumental' version of the song is heard as well, which works better as a core background piece which could be enjoyed with lights switched off.

Kashif written 'Khwaja Mere Khwaja' is a devotional track, which is strictly for Rahman fans. Rendered by Rahman himself, it has the kind of arrangements as heard in 'Kehna Hi Kya' [Bombay]. With minimal instruments in play, 'Khwaja Mere Khwaja' has its strength lying in it's lyrics but that too has minimal target audience due to the track's genre and setting. Overall, a situational piece that seems like an unlikely candidate to make much headway into current crop of audience. An 'Oboe Instrumental' piece for the same track comes at the album's end and yet again has the kind of treatment, which hardly promises a popular reach out.

'In Lamhon Ke Daaman Mein' that comes later turns out to be most laidback of all and just doesn't ignite the kind of spark that one had been hunting for in this soundtrack so far. It's one thing to be slow and another to be just plain and simple drag (if boring is too harsh a word here)! By this time, one seriously starts wondering if Rahman was asked to work on the album really-really hard or did he actually finish the job in a jiffy? In spite of presence of Sonu Nigam and Madhushree, the song just doesn't click at all and in the end what one gets to hear is a number which fails to impress and ends without making any impression.

On the lines of 'O Paalan Haari' [Lagaan] (genre wise) comes 'Mann Mohanaa’, which is yet, another devotional track after 'Khwaja Mere Khwaja'. This time around, it is Bela Shinde's turn to sing a number for Lord Krishna as the character of Jodha played by Aishwarya Rai turns over to God. Just like the rest of the album, this one too doesn't go any further than being ordinary and ends without creating any place in the heart (or the music collection) of the listener.

Special attraction of the music album of Jodhaa Akbar is a bonus DVD that includes a 4-minute long theatrical trailer of the film along with a few posters, story and cast and crew details of the film

The album kicks off well with a high adrenalin title song but beyond that there isn't much to look forward to. Jodhaa Akbar would work with a miniscule segment of audience and that too only in certain big cities. It is expected to take a good start at the stands due to high credentials involved but a sustained stay at the charts may only be possible only if the film is a success.

Jodhaa Akbar disappoints, and how! Though the music of Lagaan was good (catching on more after the film's success), Swades was always a few steps behind. However, Jodhaa Akbar does not have much to cheer about and fails to go an extra distance.

MUSIC REVIEW SUNDAY

Innovative titles and themes are in. Otherwise, would one have ever imagined till a few years back that there would be a movie made with a title like Sunday with the film revolving around the life of a girl who had one missing day in her life - Sunday!? Directed by Rohit Shetty, Sunday is an interesting project in the offering since it boasts of an ensemble star cast comprising of actors as diverse as Ajay Devgan, Arshad Warsi, Ayesha Takia, Irrfan Khan, and Anjana Sukhani. Also, it comes after Zameen and Golmaal, two diverse films by the young film maker. With composers as diverse as Sandeep Chowta, Suroor, Daler Mehndi, Shibani Kashyap, Raghav Sachar and Amar Mohile coming up with a song apiece, Sunday raises quite some hopes as one plays on the film's soundtrack.

It doesn't take beyond a few seconds to get your neck in motion as the beats arrive for 'Missing Sunday'. With Earl Edgar chipping in with his occasional rap-n-reggae, Mahua Kamath (ex-VIVA girl) and Suraj come together in this groovy track by Sandeep Chowta who makes a comeback on Bollywood OST soundtrack years after his 'Laila Laila' in Samay - When Time Strikes. As such the track has a very few lines (written by Farhad Sajid) and it is mainly the composition with long standalone musical pieces in between the lines which makes it a unique experience.
Remix version, which comes next, is polished further, and brings with it a different rhythm, styling, and groove. If the opening version was not just good enough, this one only makes Sunday an album that you may want to go for even if it comprised of only a single - 'Missing Sunday'! An absolute winner, it is only aided further by an innovative music video that makes you catch the number umpteenth number of times as it arrives on the telly!

Put to tune by 'Suroor', 'Pyar To Hona Hi Hai' which follows next takes a completely different dimension when compared to the title song and turns out to be an utterly delicious piece of melody to bite on. Written by Kamran Bari who pairs up with Mohammed Ali to even croon the track, a bona fide Pakistani soft track is impossible to resist.

A beautiful number that is instantly catchy and would be loved not just by the followers of Pakistani music but even hardcore Bollywood buffs, 'Pyar To Hona Hi Hai' is a sugar coated track which is a superb track that one gets to hear before year end. Kamran Bari is excellent in his rendition as a young man who is realizing the essence of love and is truly enjoying every moment spent in bliss!

For a song like this, one secretly wishes that it remains untouched with no remix angle given to it. This is why, there are apprehensions galore when one starts lending ear to the 'remix version' that does make an appearance in the end. Though it is not bad at all in spite of added beats and pace to the original, one is tempted to go back to the original any time.

With Daler Mehndi's name staring from the credits, it is pretty much expected that there would be a fun outing in the offering. This is exactly the case as 'Loot Liya' comes next. After a groovy track ('Missing Sunday') and a melodious outing ('Pyaar To Hona Hi Tha'), the album gains from the range provided by inclusion of multiple composers as Daler gets into a duet which is reminiscent to the style of 'Dil Mein Baji Guitar', a Pritam composition from Apna Sapna Money Money.

A non-stop track that has Sunidhi Chauhan pairing up with Mehendi (who also writes the song in collaboration with Farhad Sajid) and has 'dhamaal' written all over it, 'Loot Liya' may not qualify as a classic track in the making but does well to keep the pace of the album going due to the fun quotient it promises for the masses.

Composer/singer Shibani Kashyap along with lyricist Virag Mishra had created a rocking 'Zinda Hoon Main' exactly two years back. The team returns to compose yet another dark track 'Kashmakash' that again takes a similar pitch and setting while creating an intriguing feel. A situational track which doesn't make one croon it around loud on the streets but still creates curiosity to know what the film is all about, 'Kashmakash' appears to be the item song choreographed on Esha Deol that may appear around the film's climax as the secrets unfold and hidden skeletons tumble. DJ Suketu's exciting 'remix version' only aids in ensuring retention value for the song.

Now this is a song, which could be a potential chartbuster if treated well! Raghav Sachar, who has his own style of composition while mixing western sounds with Indian feel (as witnessed last year in Kabul Express and some of his private albums), creates 'Manzar'. It picks up heat after a few lines set the pace for things to follow, as has been the composer/singer's style and takes some exciting twists and turns throughout it's near four minute duration. Written by Aditya Dhar, this should be a song to watch out for as one waits to see how the choreographer has treated this high-on-beats number.

Amar Mohile, who has been a regular (quite successfully) in the background music scheme of things, is the man behind composing 'Sunday - Theme'. With a slight oriental feel to it, this theme track is created entirely in English and has Joy (who also writes the song) coming together with Clint for the rendition. A fast paced track that is being heard along with the film's promos ever since they were first aired around three weeks back, 'Sunday Theme' is urban, young, spicy, enthralling and quite entertaining. Watch out for the way 'bhangra beats' is incorporated at places without turning it into an out and out Punjabi outing!

Sunday is the last album to be released in 2007 and ends the year on a happy note after a long draught that has been witnessed due to lack of any notable score. If title song 'Missing Sunday' is a major good enough reason to go for the album, love song 'Pyar To Hona Hi Hai', a masala number 'Loot Liya', theme track 'Sunday Theme' along with item numbers 'Kashmaksh' and 'Manzar' only add on many more reasons to rejoice.

Go for this one - you won't be disappointed!

TZP VS WELCOME TZP LOSING

(Note: Figures are as per the reported centres)

Welcome - Week 1 Mumbai - 5,75,51,877 (Incl. Thane) Ahmedabad - 1,77,48,317 Himmatnagar - 4,85,848 Gandhinagar - 5,50,040 Baroda - 55,00,000 Surat - 76,00,000 Valsad - 2,60,000 Navsari - 3,47,000 Rajkot - 24,00,000 Bhuj - 4,10,000 Adipur - 3,50,000 Bharuch - 6,03,243 Jamnagar - 4,68,000 Bhavnagar - 13,85,000 Pune - 1,84,00,000 Solapur - 6,71,000 Ahmedabad - 3,59,212 Goa - 24,00,000 Nasik - 29,25,000 Delhi - 3,00,81,241 Noida - 41,97,641 Kaushambi - 28,01,803 Gurgaon - 53,71,834 Ghaziabad - 93,94,091 Aligarh - 7,01,000 Moradabad - 10,92,683 Mathura - 2,51,000 Jhansi - 3,00,000 Bulandsheshar - 2,09,835 Gorakhpur - 5,46,639 Saharanpur - 4,57,788 Dehradun - 7,50,000 Muzaffaranagar - 2,95,000 Khurja - 2,52,000 Shamli - 1,93,000 Shahjahanpur - 1,16,000 Sitapur - 1,65,327 Agra - 13,00,000 Kanpur - 29,87,504 Meerut - 22,15,684 Pilkhuwa - 60,000 Modinagar - 1,07,615 Bareilly - 3,86,606 Faridabad - 29,46,036 Lucknow - 52,25,692 Varanasi - 19,40,733 Allahabad - 60,900 Amritsar - 8,13,070 Hissar - 7,71,895 Rohtak - 3,50,005 Rewari - 3,48,881 Ambala - 1,91,053 Chandigarh - 24,77,308 Ludhiana - 32,03,389 Jalandhar - 17,62,830 Bhatinda - 4,0,190 Jammu - 7,72,370 Chandrapur - 4,30,040 Nagpur - 38,43,176 Raipur - 15,75,044 Bhilai - 6,00,403 Amravati - 5,77,474 Jabalpur - 4,91,486 Yavatmal - 2,63,345 Wardha - 3,07,169 Sagar - 2,46,517 Durg - 1,80,753 Bhandara - 1,18,066 Rajnandgaon - 1,81,767 Balaghat - 1,17,024 Parathwada - 1,21,092 Gondia - 1,50,424 Akola - 4,29,563 Jalgaon - 4,84,000 Bhopal - 21,93,065 Indore - 54,17,667 Guna - 1,82,525 Ujjain - 2,47,007 Sehore - 2,40,315 Jaipur - 80,00,000 Jodhpur - 18,00,000 Kota - 10,00,000 Ajmer - 10,00,102 Bikaner - 7,00,000 Kolkatta - 1,26,09,814 Guwahati - 6,76,467 Darjeeling - 1,39,420 Bangalore - 97,06,664 Hyderabad - 98,15,515 Aurangabad - 20,90,651 Chennai - 22,09,693 (Average per print: 6,36,371) Total collections for Week 1: 27,36,99,428 Total Collections (Till Date): 27,36,99,428 Collections (INR) Avg. Per Print % change since last week Week 1 27,36,99,428 6,36,371 NA Total Gross 27,36,99,428 Taare Zameen Par - Week 1 Mumbai - 4,27,61,101 (Incl. Thane) Ahmedabad - 50,09,325 Himmatnagar - 43,264 Gandhinagar - 2,19,322 Baroda - 6,39,318 Bharuch - 2,84,330 Bhavnagar - 2,71,340 Ahmednagar - 1,56,302 Valsad - 2,17,323 Pune - 10,43,018 Goa - 7,58,940 Nasik - 7,61,933 Delhi - 2,49,77,814 Noida - 26,93,107 Kaushambi - 4,80,862 Gurgaon - 37,34,535 Aligarh - 4,17,000 Agra - 3,05,000 Meerut - 6,11,136 Moradabad - 1,99,426 Dehradun - 4,08,473 Bareilly - 1,80,000 Faridabad - 6,20,602 Amritsar - 50,960 Lucknow - 1,70,383 Nagpur - 10,51,305 Raipur - 7,65,377 Indore - 12,91,471 Ujjain - 50,661 Sehore - 1,24,275 Jaipur - 27,88,130 Kota - 5,60,152 Ajmer - 4,46,267 Bhilwara - 96,856 Jodhpur - 4,76,018 Udaipur - 1,90,399 Kolkatta - 35,80,733 Guwahati - 3,20,355 Darjeeling - 87,180 Bangalore - 1,12,08,132 Mangalore - 6,95,793 Chennai - 4,99,828 (Average per print: 6,53,384) Total collections for Week 1: 11,12,47,746 Total Collections (Till Date): 11,12,47,746 Collections (INR) Avg. Per Print % change since last week Week 1 11,12,47,746 6,53,384 NA Total Gross 11,12,47,746

Deepika Padukone Dropped From Rakesh Roshan Film...

Deepika Padukone Dropped From Rakesh Roshan Film...

Rakesh Roshan has reportedly dropped Deepika Padukone from his next production that has his son Hrithik Roshan in the lead role.

The reason for that is that the senior Roshan thinks that Deepika doesn't fit the bill for the dance-based role in the film that will be directed by Anurag Basu who last directed Metro .

Roshan said, "I am in the process of working on a film which will be directed by Anurag Basu. And Deepika didn't fit the role. We'll definitely work with her in future for some other project. It's quite a complex character and we are looking out for a female lead."

According to Filmkraft sources Roshans are now looking at casting a non-Indian for the role who can do Salsa.

Deepika too doesn't shy away from admitting this bitter truth. “I don’t think I am a star. I am just one film old and have a long way to go,” she said.

Talking to a tabloid the Om Shanti Om star revealed," As of now I have signed two movies. I’ll be shooting with Ranbir in January for Yash Raj’s next. It will be directed by Sidharth Anand . It’s not titled yet. After that I will be working on Nikhil Advani ’s Made In China opposite Akshay Kumar .”

Seems like Deepika is getting more endorsements offers than film offers and the few she managed to get are already slipping from her hand.