Asoka

While this engaging film wonderfully depicts the evolution of a young man into the ferocious killing machine emperor called ChandAshoka (Wild Ashoka) it pays little attention to the much more vital legacy as DharmAshoka (Faithful Ashoka). Cutting two songs, and adding another 10 minutes of exposition to show his evolution into the enlightened and compassionate meesenger of Buddhism would have made the film much more complete, and raised it to the level of highest achievement. Ashoka made Kalinga into a centre of Buddhism that endured more than a millennium, until the Shaivaite and Vaishnavite Hindu Renaissance of the 12th and 13th centuries. His legacy as a prophet of multiculturalism, peace and tolerance was insufficiently explored. It might have helped to have had an English translation of the beautiful and profound rock edicts that were shown only as a visual element in the opening and closing credits. It is a shame that Ashoka's Greek ancestry is not even acknowledged in the film. His grandfather Chandragupta, who is seen as convert to the ultra-pacifist Jain faith in the opening scenes, married the daughter of rht edfeated Greek general Seleucus Nicator, who led Alexander the Great's forces to defeat in the Punjab. Ashoka was born of one of Bindusara's Indian wives, which makes Ashoka at least one quarter Greek -- he was the very fusion of the Greco-Indian classical tradition, snd it was he who caused to be erected the collossal Buddhas at Bamiyan, destroyed earlier this year by the Taliban government in Afghanistan. Despite these minor failings it is a superb film, and even today you can wander the sand dunes of the River Daya (Compassion) in southeastern Orissa (formerly Kalinga) and experience the fullimagining of the Ashokan battlefield. Best regards Satya

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.

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.

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.

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