Asoka

Granted, Asoka doesn't really bring anything new to Indian cinema but then when do many films? This film should be given its due in that its better than most Indian movies of the day - way better. Therefore immediate criticism is harsh.

The music first of all is...very cool. Yes, its not yr typical music of the Indian setting but if u listen, Anu Malik has done something very interesting with the classical instruments of the age. This music has an evolved feel to it, that actually serves the movie very well. Its was an ambitious move that the director pulled off. So many bollywood films have the same songs, the same formula, the same dreary uninventive sound - these songs were different sounding, even if they touched on the same typical subjects. And the lyrics are beautiful in a lot of them (granted not the 'tayar hoja').

the script wasn't amazing but far surpasses the embarrassing lines of some many other Indian movies but it served its purpose. the actions scenes were better crafted then most Indian cinema pieces - the use of cgi would have been tacky and poor - until we have an industry that can create a war scene on full scale its a bad idea.. Shah rukh khan did a good job, kareena kapoor was beautiful (and I'm not a big fan). no one acted cringingly as so many Indian actors do.

finally, yes, the movie may have achieved something more had it been historically correct, but u r warned as a viewer that the film isn't historically correct and some features are fictional. who cares? its still good cinema. not everything needs a wonderful sweeping message.

It's really hard for me to evaluate Indian films. Although they appeal to me, I live in a world totally alien to theirs. What I see as a film being interrupted by unnecessary music videos, they might see as the marriage of two vibrant, vital aspects of their culture.

That said, Asoka is a film that I enjoyed very much. The story is epic, complex, and deeply layered, and it almost had me crying in the end (VERY few films can do this). The cast is fantastic, and they did an excellent job. The costumes and the sets were equally great. It's runtime is at 2 hours 45 minutes, but I was left hoping it was going to go a little bit longer. I wanted to know what happened to Davi, and I wanted to learn a few things from Asoka's latter days --when he embarked on his journey towards peace.

This film is great, and I'm looking forward to seeing it again.

ASOKA is a simple tale of sibling rivalry at its most heinous in a battle for the throne, filial duty, plus boy-meets-girl/boy-loses-girl etc, and how a conqueror realizes he has gained nothing by his brutality, and thereafter embarks on a journey of self-realisation and redemption through peace and Buddhism.A simple tale, but made complex by mind-boggling logistics (600 horses, 50 elephants, 6,000 extras together on the battlefield), thought-provoking themes and lyrical cinematography loaded with symbolism and mystique. Moments of levity (`that's not a weapon.THIS is a weapon!' reminding me of `Crocodile Dundee') together with aweinspiring locations and captivating romance, provide a gentle contrast to the gruesome spectacle of war.



One of the highlights for me was the music. In spite of owning the CD and seeing video clips on MTV, I was unprepared for the lush, sumptuous sounds enveloping me like an embrace, combined with alluring picturization. I would have loved to have seen more of the underwater scene in ROSHNI SE - innovative and full of grace and playfulness.



The Baadshah (King) of Bollywood, SHAH RUKH KHAN, demonstrates his personal aura of majesty and magnetism- classy, gutsy, seductive and intense, he IS Asoka incarnate: imperious, vengeful or romantic, .every move and emotion delivering a message of Grace, Truth and Sincerity straight to the viewer's heart.



More famously known for his exuberant dancing, irrepressible energy and audacity, Shah Rukh's flawless portrayal is so internalized and contained, with moments of chilling stillness, that it's difficult to remember any of his previous persona. Shah Rukh in his prime is a formidable, unforgettable vision.



Another highlight was Shah Rukh's graceful Kallaripayattu (martial art) and one-on-one combat scenes (especially with the enthralling snake sword) almost balletic in execution (no pun intended) - giving added dimension to the phrase `Poetry In Motion'.



Shah Rukh's intensity reminds me of Martin Sheen who was 35 in Francis Ford Coppola's `Apocalypse Now', a highlight of Hollywood history in its time, the same age as Shah Rukh in Asoka.



The entire cast lends excellent support, with many outstanding scenes, and no disappointments. Karriena is bewitching, young Suraj beguiling, and Rahul Dev fiercely protective, to help flesh out Santosh Sivan's magnificent movie. Ajith Kumar impresses more every time I see this movie, and successfully evokes sympathy from an unsympathetic role.



Costume and set design forsake the typical lavish `royal' trimmings, giving a clean, timeless look of elegant simplicity to haunting visuals in soft muted colours (except for the rich, rich, red and stunning peacock blue fabrics) in subtle harmony with the luxurious foliage. God bless Santosh Sivan, a visionary in an industry of mediocrity! (I wonder if he's met Francis Ford Coppola?)

History of Asoka? .not necessarily!

History of Cinema? .but definitely!

The ending left me panting to know what happened next, much like young `Arya' wanting `Pavan' to continue his story-telling ~ is this a clever way to make us beg for a sequel: ASOKA Part II? Mr Sivan, Sir, are you listening?

FINAL NOTE: The exquisite Book on The Making of Asoka (Mushtaq Shiekh, writer, HarperCollins Publishers) completes and further enriches the magical, mythical experience of ASOKA.

*SANDI* SRK's AUSSIE FAN #1

Likeable, but long, quasi drama, quasi musical with a little comedy thrown in about intrigues of a family of an Indian Raj. This won't be everybody's cup, but if you stay with it, the story delivers a satisfying conclusion.

The actors are attractive and enjoyable, the battle scenes were enhanced by NOT using CGG. By keeping shots local, on real actors, as opposed to long distance pans of computer generated people, it simply looked better. CGG, as shown in the movie THE PATRIOT; looked phony and to a viewers intuition, felt phony. Kudos to the producers for keeping it real.

My only beef was the time length of the film, and just a few too many melodramatic moments of pathos. This kind of going for the heart-strings style of screenwriting can backfire, if one goes to the well too often.

The music and dance numbers were pretty terrific, albeit through my western eyes. Their tempos were sweetly romantic, or heartfelt in their display of sadness, depending on the case. All were artistic, interesting and entertaining.

ASOKA, the biography of an Indian Prince, is recommended.

This film is not intended to be derogatory towards Buddhists, but does indeed enact the historical beginnings of Buddhism. King Ashoka was a vicious warrior before he was shown the 8-fold path but his conversion did not occur until much blood was spilled in his land. It is unfortunate that other viewers have a skewed version of the conception of Buddhism and take this film to be negative. Nevertheless, I was impressed at the historical accuracy, the strength of the acting, and the vividness in the vision of the director. He chooses very unique positions to shoot the scenes and uses stop-time in very emotionally effective manners. I recommend this film not only for the story but for the visual elements and as an example of an Indian film that offers more than just song and dance.