Asoka

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.

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

the film revolves around a real life incident of India's ancient emperor Asoke the great.

the beginning of the film is simply marvelous, with the emperor Chandragupta Mauriya, renouncing the throne and advising the young prince Asoka not to use the sword.

the story moves quickly onwards projecting asoka as a competent, even brilliant general but ruthless and ambitious. he is embroiled in intrigues with his step brothers, and with his father who is under the power of his step mother who is hostile to his very presence. unable to tame the haughty prince his mother forces him to go into exile.

the plot meanders a little until he meets the princess kaurwaki. interesting sequences follow with a heartbreaking partition of the two lovers and the eventual betrayal of asoka by his brothers.

the emotional parts are fantastic with poetic cinematography. there is some thing for everyone in this film.

Shah rukh khan once again proves that when it comes to the Indian film industry, there are few who can equal him. his screen presence is immense, and once he is on, there is nothing else you can help notice.

Kareena kapoor is good, as the destitute yet haughty princess Kaurwaki.

Supporting castes are excellent, with a special mention of Danny denzongpa, who acts his part to perfection.

the conclusion of the film is in the massive battle of Kalinga. here the fight sequences are real (not animated), with real time filming. hence the effect is great. the stunts though look like expressive ballet at times.

the only thing lacking is an all too brief exposure to the spiritual side of the event,(of the emperor renouncing violence). since this was the turning point in his life a little more on this and a little less on the romance between Asoka and Kaurwaki would have made this a definite hit.

all in all, a marvelous piece of cinema. a must watch for ANYONE.

2001, in spite of everything, might be remembered as the year Bollywood met Hollywood in the flesh. Years from now, film historians, critics, and fans will remember this film as a landmark, an unparalleled achievement. This incredible film really needs to be seen on the big screen to be appreciated fully.

Santosh Sivan, the gifted cinematographer best known in the USA for the art-house hit "The Terrorist," and in India for his work with director Mani Ratnam, switches gears completely. While "The Terrorist" was a tiny, contemplative drama, "Asoka" is bigger than big, a total opposite. In fact, I read that the war sequence was the largest of its kind ever filmed in the history of Indian cinema.

Asoka, a little-known figure in the West, was a bloodthirsty maniac who became a bastion for peace and tolerance through Buddhism in the 3rd century, ce. The film is a journey, a character study, of Asoka's progression to the time when he first embraced the Buddha. Some have complained that there is nothing in the film about his conversion to Buddhism, but that is really not the film's point. The events that led up to this transformation are what the film is really about.

Particular attention needs to be made to the cinematography and editing--it is nothing short of extraordinary. Done with an uncanny sensitivity, Sivan brings third century India to breathing, bustling life in a way that, perhaps, no one else could deliver with such vitality and beauty. However, portions of the editing are a little too MTV for my taste, with white flashes and jump-cuts interrupting establishing shots. It functions well, though, during the fight scenes. It is a strange dichotomy between art and commercial cinema. You'll never see swordplay in the same way again.

Pay attention to the acting, too--it is excellent. Kareena Kapoor proves that she's a much finer actress than her older sister, Karisma, and Shahrukh Khan, currently India's biggest star, gives the performance of his life. Both show incredible nuances. Also, Suraj Balaje, who plays the young prince Arya, shows a surprising maturity, and even comedian Johnny Lever, in a cameo role as a soldier, is excellent. If you are not familiar with commercial Indian cinema, the acting may seem like it is a bit over the top, but here, the entire cast, especially the leads, shows tremendous restraint. Know, however, that the over-the-top acting style, a staple of commercial Indian cinema, has a direct connection to traditions that are hundreds and hundreds years old, in the classical styles of the Sanskrit and Parsee theater.

The inevitable comparisons between "Crouching Tiger, Hidden Dragon" and "Asoka" are warranted. This is the first commercial Indian film to receive nationwide distribution in the US, in this case through the independent First Look Pictures, and it is poised to bring an otherwise unknown filmmaking tradition in the American mainstream to a wide US audience. Both films are sumptuous recreations of history, although this film is based on an actual historical figure and CTHD is based on a novel. Both films have amazing fight choreography, "Asoka's" done without the aid of computers. Personally, I am biased toward commercial Indian cinema because it holds much more of a mystique. Sadly, because of the image that commercial Indian cinema holds in the USA, it may never see the wide audience that this film so deserves.

Whereas the Hong Kong action picture has heavy doses of martial arts, the commercial Indian film has songs, akin to musicals but, in this case, more like music videos. There are five songs in the film, and they may be a turn-off to those not familiar with mainstream Indian cinema. However, they are well-integrated into the story line, and they are among the best filmi (Indian film songs) I have ever heard, combining modern and ancient instruments with just a touch of electronica. The film really loses some of its impact if they are cut--they are that important. They are well-picturized (term for the filming of musical numbers in Indian cinema) and provide additional atmosphere. The influence of MTV is apparent in the editing style that takes over during the song sequences; this may interrupt the film's rhythm and impact, but they are part of the overall story. Unfortunately, I believe that the song sequences are being cut severely for international release, although I was lucky enough to see them in full DTS digital sound. Because of the need for Indian cinema to appeal to as wide an audience as possible (the all-India film), and because film-going in India is a family experience, films try to appeal to all members of the family. This means that violent scenes can turn into comedy, many genres are often combined, and there is neither sex nor nudity, not even kissing on the lips, because of a puritanical society. Overall, this may be seem cheesy to American audiences, but this is one of the pleasures of commercial Indian cinema. It is strange, though, with its lack of any nudity or sex, which are all suggested but never shown, that the film received an R rating. Yes, it is VERY violent, but the violence is quite stylized and often uses the power of suggestion rather than actual representation. I hope sincerely that, when First Look releases the DVD, the film is completely uncut and complete, with ALL the songs.

The film's last song, "Raat Ka Nasha," would be my Oscar pick for best song, an exemplar of superior filmi. The film itself definitely deserves an Oscar for Best Foreign-Language Film. It is a big bonus to see a film of such high production values devoid of any references to Western civilization or without any Western aesthetics. Incredibly entertaining, something for everyone (music, drama, romance, violence), with unparalleled high-quality production values and a moving story, "Asoka" is a dynamite cinematic experience. It is that good. Peace.

original and inventive direction and cinematography? didnt anyone else get the feeling that this was crouching tiger, hidden dragon with an indian story bolted onto it (and that too badly done!)?

where was the history? why dumb-ass and completely extraneous and unimaginative (except by indian standards) song and dance numbers, while a little bit about buddhist philosophy and not just a couple of orange filtered shots of a buddhist monk walking past the sunset?

right, plot...what plot? one scene develops to the next in such a contrived manner, one never knows why the war is being raged or any of the rest of it (eg. arya dying at the end...clearly the filmmakers intended, as is de rigeur in hindi films) that the audience must leave crying. but where is the dramatic role for arya's death? there isnt one...just the same as there is no dramatic kudos to any of the developments in the film, except perhaps to satisfy producers/distributors whims and demands.

direction...santosh sivan has clearly been watching and learning from ang lee and ridley scott amongst others and still manages to direct some of the most cack-handed action ever...could martial arts fight scenes be any more pedestrian?

i wont go on...but suffice it to say, i sat thru this more easily than the typical poor boy meets rich girl, whose father is a corrupt business type...his best friend dies at the end and he gets the girl type hindi film, but pls, dont think of this as original and ground breaking!