Eklavya

VV Chopra takes on the director's baton after 7 years and unleashes a treat for your senses... your visual senses in particular. Eklavya is nothing less than poetry on celluloid. It's still a wonder why VV Chopra took so long to go behind the camera again, when he can produce such a masterstroke so effortlessly, so effectively.

Technically the film scores in almost all departments. Stunning cinematography is the highest point of the film after Chopra's direction of course. Visually the movie is so delightful with vivid colors of Rajasthan splashed all over the screen. The forts never looked so beautiful, so alive. You can actually feel the royal feel of the film in the costumes, art direction and the whole setup. There is an aura of class all over.

Director is able to extract solid performances from everyone in the cast. Amitabh, as expected excels once again in the title role. Sharmila Tagore could have been used better. Sanjay Dutt, the most enjoyable character, should have been given some more screen presence.

But the biggest drawback of Eklavya is in the most important part. The story. Despite being a rather short film, with only about 120 minutes of running time, the film seems dragging. The second half in particular is slow paced. You might start loosing interest by the end of 1st half itself. If it was not the brilliance in direction, you might even give leaving in the interval a thought. Even the Parineeta chemistry between Saif and Vidya Balan seems to be lost this time.

If only the script had been a bit stronger, a bit more gripping, we easily had a winner in hand. Eklavya is not a looser anyway.

Welcome back Vidhu Vinod Chopra, the director. Don't make us wait so long again.

On paper, this movie had all the makings of a classic...a hugely talented superstar cast, a unique and creative storyline and an artistic assortment of cinematic spices like emotion, tender romance, jealousy, greed, mystery and a lip smacking element of surprise in the end. Yet sadly on screen, the director fails to synchronize all these tools into a well oiled machine; in short, the movie fails to grip the audience.

going by its length, under two hours which is remarkably short for a Hindi movie, one would have expected the movie to unfold at breakneck pace...the kind of tempo that keeps your hips gyrating on the edge of the seat; however, the pace is sluggish for most parts.

set in a captivating palace of Rajasthan, it traces the emotional roller coaster ride of the royal palace guard Eklavya ( amitabh bachchan in a memorable performance ) who is put to the cruelest of altars in the end when he is faced with a choice between his loyalty and his son...

Saif ali khan as the son, Vidya balan and Sanjay Dutt all give beautiful performances, although the focus never really manages to shift out of the magnetic persona of Amitabh, who plays the role with such rigorous conviction that every crease in his face or every hint of a tear in his eyes more than makes up for the lack of dialogs in the movie..Eklavya is a movie of personal choices and the overly challenging task of choosing the lesser of the two wrongs, or for that matter, the better of the two rights...

barring the tortoise pace, which is not quite so bothersome as the screens blank under a couple of hours, the movie is quite worth watching for the sheer gravity of performances.

It's always fun making it to the first screening of a new film on the very day it opens. My film-crazy friends and I habitually did this in our college days. Long years later, the thrill has not worn off. This time, the film I lined up to watch at its first screening in town is "Eklavya – The Royal Bodyguard". Vidhu Vinod Chopra, the filmmaker who, in the capacity of either director or producer, gave us "Parinda", "Mission Kashmir", "Parineeta", and the two wonderful Munna Bhai movies, was unveiling his new directorial effort, and I was eager to see what lay in store.

"Eklavya" boasts a huge cast of eminent actors; how their services would be utilized has piqued my curiosity for some time. The glittering line-up features Amitabh Bachchan in the title role, along with Chopra regulars Saif Ali Khan, Sunjay Dutt, the exquisite Vidya Balan, Boman Irani, Parikshat Sahni, Jackie Shroff, Jimmy Sher Gill, Raima Sen, and an elegant cameo by Sharmila Tagore.

The film opens with the unmistakable voice of Amitabh Bachchan narrating the legend of Eklavya from the Hindu epic, the Mahabharata. Eklavya, a child of undistinguished antecedents yearns to study archery under the tutelage of Dronacharya, the instructor of kings. Contemptuous of his low birth, Dronacharya refuses to accept Eklavya as a student. Undeterred, Eklavya builds a clay effigy of Dronacharya and ceaselessly practices archery before it. Soon after, Dronacharya is taken aback by Eklavya's proficiency, which has outstripped that of his princely pupils. As it wouldn't do for this commoner's skills to rival those of the royalty, the crafty Dronacharya demands a "dakshina" or teacher's fee from Eklavya. Whatever you wish, the devoted lad replies. Your right thumb--that is what I want as my "dakshina", commands Dronacharya. Without hesitation, Eklavya slices off the thumb, knowing full well it would end his prowess in archery. The story is meant to illustrate the notion of "dharma" or the fulfillment of one's sacred duty in any circumstance, regardless of cost. Off screen, the child to whom Amitabh recounts the story protests this outcome, and his shrill tones are the voice of reason.

Amitabh, like his dutiful namesake Eklavya, is the loyal manservant and bodyguard of a line of minor royalty in Rajasthan. Despite the family's tyrannical ways, he unswervingly stands by them. The film unfolds in the present, but this particular royal family still resides in a fog of past glory, entitlement, and unquestioned power. Their continuing nastiness has made the natives restless, and the worm is about to turn.

The Queen Mother's (Sharmila Tagore) deathbed revelation sets the somewhat baroque, overwrought plot in motion. The heir apparent (Saif Ali Khan), who had earlier fled the principality in disgust at the profligate ways of his relatives, is summoned home for her funeral. Before breathing her last, the Queen pens a letter to her son spilling the proverbial beans. This confession causes a domino effect of cross and double cross, intrigue and counter-intrigue.

The film has the look and feel of a stately epic, but Vidhu Vinod Chopra is not interested in the luxuriant pace associated with epics. There is a business-like economy in his approach. There is no waxing philosophical about the misdeeds that have brought this family to its present ugly impasse. He appears to say that was then, in the past, there's no time for that; let's simply watch how their karmic debts are collected now. Voice-overs and numerous brisk flashbacks provide just enough expository detail to follow the events unfolding in the present. The pace is breathless, as though generations of past injustices can wait no longer for expiation. Every now and then, there is a moment of stillness, which one wishes would be held a few seconds longer for the mood to be savored. An effective scene on the palace ramparts is reminiscent of the ghostly visitation in "Hamlet", and the wraith, despite no lines to declaim, has similar impact.

Amitabh Bachchan's magisterial performance as a man programmed for blind duty, having to suddenly distinguish between obligation and reason transcends the silliness of the plot. Saif Ali Khan impresses yet again; there is maturity and depth in his performance as the conflicted prince with the populist conscience. Unlike "Parineeta", Vidya Balan doesn't have a whole lot to do here, but is dignified and graceful in her few scenes as the commoner in love with a prince. Boman Irani, an actor of sweeping range and intelligence, is a hoot with his hissy fits and sloe-eyed ambiguity, while Jackie Shroff and Jimmy Sher Gill, as the wicked uncle and cousin, handle the villainy with lip-smacking gusto. Sunjay Dutt, fresh off his Munnabhai success, is a welcome presence as the investigating police officer with little patience for the anachronisms of fiefdoms and effete royalty. What a pleasure it is to see Sharmila Tagore, who retains her looks and glamor despite the passage of the years.

"Eklavya" displays a most un-Indian efficiency (in film-making terms, at least) and speed (a mere 105 minutes) in telling its tale that had me longing for a little more of some of the characters. It would be interesting to see just how much of the film was left on the editing room floor…perhaps the DVD will have the deleted scenes. Music is used appropriately: there is a lone song, of which only a judicious snatch is used on screen. The cinematography makes full use of the gorgeous Rajasthani terrain, with its pitiless crags and sun-scorched sands. Clearly, Vidhu Vinod Chopra has an eye on international audiences for his film, and glowing endorsements from the likes of Ralph Fiennes enhance his chances. Here's to you, Mr. Chopra, and more power to you.

Eklavya certainly does not do justice to the creation with such great actors of current era. The problem is lack of entertainment, which is consistently absent in failed movies of VV Chopra '1947 – A love story', 'Mission Kashmir', 'Parineeta'. May be this is the reason these movies do not do any good on box office. But still it is hard to say that the movies were bad. These movies provide a very less entertainment.

Eklavya too lacks entertainment. Moreover it fails to take best out of the actors. It also does not make a clear picture of what the director wants to convey. I guess introduction of unnecessary characters has killed the main theme. The characters of Sanjay Dutt, Boman Irani and Vidya Balan has very limited role which do not do any justice to the acting skills of these good actors.

The movie is really good for the eyes. One thing in which VV Chopra has scored point is the environment making. The sketch of rural India is very effective. The big palace, its surrounding, the entire town and also the dessert fits perfectly to the theme, and there is no issue there. The music is also matching with this environment and soothing to the ear.

All the actors have done a good job. You can not think any other person in the role of Eklavya other than Amitabh Bachhan. This man do not need dialogs to talk. Saif has also given full justice to his character. Audience can get his emotions and can find the battle he is playing with himself, not knowing what decision is right or wrong. Jackey Shroff and Jim Shergill have done decent in their negative characters. Others though have very limited roles has done their best and fits the characters that they have done.

The unrealistic and larger than life picture of main character is another weak point. The scene where Amitabh shows his aiming and concentration skills was unnecessary, and takes the movie on the fairy tale path. Not only this, but again many other scenes should have been shortened in length. This is what makes the movie boring.

I feel that if VV looks at his flop films, he himself will understand the problem. The movie is more than the main path Bollywood movie, takes the path of the art movie. So it dangles in between this, and at the end, ends nowhere.

Vidhu Vinod Chopra has always been the master stylist...repertoire is full of cinematic brilliance...whether it was Parinda where he showcased a underworld gangster with haunting memories...or 1947 a love story..a power house packed romantic film in the backdrop of Quit India movement...or it was Mission Kashmir where estranged son and father fought and valley burnt in their anguish...his narration has always been packed with a grip, sheer brilliance of dialog delivery, daunting back score music and use of lights and camera angles which reminds you of Guru Dutt's work...no doubt Vidhu has his traits in all his protégé, be it Sanjay Leela Bhansali, Hirani or Pardeep Sarkar... so when one hears it took him five years to pen the screenplay of Eklavya, the expectations had to be high.

But then Eklavya is no disappointment. a failing dynasty with frail rulers, a secret seeded deep in heart, and dilapidated royal guard trying to keep secret intact. There is heresy, treachery, pain, unrequited love all wrapped beautifully in four walls of a grandiose palace (..Heard its Maharani Gayatri Devi's. Palace).... shimmering chandeliers, royal swords, candle lit harem's...they are mesmerizing...and so are the actors who have slipped into their characters as if they are living them from ages.. Mr. Bachchan is powerhouse at its best...Saif is yet again reserved but impact full...Jackie and Jimmy are at their evil best. It's amazing to see Balan making her presence felt among all stalwarts. So does Raima impress. Sanjay is flawless in his rustic, vindictive demeanor. But its Boman with niceties of queen, which make you realize, he is one hell of an actor.

The narration is what makes it impeccably, nicely told, not a scene out of context. Good camera work during panoramic view of palace. The use of special effects adds gravity to story. It's another brilliance from master stylist and best story narrator in film industry.