La sposa dell'Imperatore

Jodha-Akbar is a motley of exceptional love,Terrific Action,Soulful music and splendid cinematography.It is one of the most uncommon films and a must see one if you want to witness something special.The film got combative stunts and it has everything to please everyone.But on the other side,the film is slow and lengthy.The first half of the film lasts more than 2 hrs yet the twists and turns will glue the audience to the cinema.Hrithik was awesome as Akbar and Aishwarya was majestic as Jodha.Direction was at the best.Ashutosh proved yet another blockbuster which falls in the same line of Lagaan and Swades.May be he need to concentrate on the duration of the film by chopping off few scenes.Jodha Akbar is basically a love story instead of calling it as a War based film.The film lacks pace and slow narration of few scenes and the frequent usage of Urdu language made the audience ambiguous and also boring.But at the other end,even though the film lasts for more than 3.30 min,it is gripping enough and very much bearable.The Director need to edit the film and make it as a 3 hrs film so that the audience will like this film even more.The huge star-cast of Hrithik-Ash playing as Akbar and Jodha might have evoked a lot of curiosity among the audience before the release but i must admit the film almost lived up to the expectations.The love part was dealt exceptionally well and it is the forte for the film.The film depicted the Legacy of Akbar.The film also shown that Akbar did lot good for Hindus. I don't feel,the film will hurt any religion sentiments.The director did an excellent job in maintaining the balance.A R Rahman's background score was very good and music is freshy.And adding to that,the picturisation of the songs is spectacular.Especially Azeem-O-Shaanshahensha,it is definitely one of the best ever pictured songs in the history of Indian Cinema.Overall, a film worth watching.

Fantastic movie by Ashutosh Gowariker! Amazing story plot. Great cast- Aishwarya Rai Bachchan, Hrithik Roshan, Sonu Sood. Amazing music!! Definitely worth seeing. A great re-telling of story and setting for a great history. Though there's a huge controversy for the history part of the story (which the whole point of the movie really was), Jodha Akbar is an ideal, Disney-ish version of the history therefore making it an entertaining, romantic movie. I'll definitely watch it over and over again. An epic movie. A long-limbed story that is utterly simple in structure, but decorated with enough character interplay and side plots to keep the movie ticking over to a powerful finale. Loved it. Fantastic.

There are good movies. And then there are great movies.But very few are truly epics. I can very confidently say that Jodhaa Akbar is going to be an epic.

Do not be daunted by the 195 minutes runtime of the movie. At no point in the movie will you be aware of the time. The performances put in by Hrithik Roshan and Aishwarya Rai,along with the ethereal music provided by A.R.Rahman and the stunning costumes by Neeta Lulla are going to blow your breath away.

No Indian cinema has ever evoked such a strong mixture of emotions in the audience as this one. Each and every frame of the movie is a treat to the eyes. There is richness and grandeur in every aspect of the film.

'Jashn-e-bahara' and 'Khwaja mere Khwaja' are superbly shot and executed songs. And then 'Azeem oh Shan Shahenshah' is one song that will remain etched in your memory long after you leave the theater.

The scenes where the Emperor Akbar tames the wild elephant and the sword fight between the royal couple are truly memorable. The battle sequences are captured very well.

The initial mistrust between Akbar and Jodha bai and the subsequent budding romance are handled brilliantly.

Hrithik is superb as the Emperor Akbar and I doubt if any actor of his generation could have handled this role as well. And Aishwarya Rai as usual looks stunningly beautiful.

All in all, a tremendous movie and I am going to strongly recommend this to all my friends.

Thank you Ashutosh for Jodhaa Akbar.

Ashutosh Gowariker's "Jodhaa Akbar" is the most ambitious film to emerge from Bollywood's stables in quite a while. Based on the historical alliance between India's greatest Mughal emperor and a Rajput Hindu princess, Gowariker models his film on the Shakespearean mould of palace intrigue with its collection of warring power brokers, plotting princes, distant queen mothers, bitchy but loyal eunuchs, and concubines galore. It's also something of a gamble: Gowariker has never treaded the historical epic in his earlier features, especially one about India's first attempt at religious pluralism. The results are mixed but laudable, largely because the script adheres to the golden rule about bringing historical episodes to film: know the history, but print the legend.

Romeo and Juliet, Hamlet, and Pocahontas were all real people whose life stories have been told and retold in popular Hollywood films, each retelling adding and embellishing elements of the story which have helped the stories attain the status of pseudoreligious myth. India certainly has a rich history of quasi-historical legends: Anarkali, Heer-Ranjha, Umrao Jaan, Devdas, and now Jodhaa-Akbar.

Let there be no doubt: this is not a documentary nor do the filmmakers make any overt attempt at a documentary characterization of Akbar. History tells us that he was a unique and even megalomaniacal emperor: he had many wives and untold numbers of concubines in a harem which (depending on which account you believe) included a few male lovers, invented his own religion in which he was divine, and held court with atheists, Jews, and Jesuits, a practice which would become decidedly less common with future emperors.

Hrithik Roshan puts up what is probably his best performance as Akbar, though he is hindered by the sheer volume of activity making up the plot: an absent queen mother, sinister foster mother, devious brothers, and, above all, a reluctant wife, all demand his attention. Roshan is at his best when Akbar is wooing a banished Jodhaa and when he ventures off into his kingdom; in many ways, Akbar remains a symbol of tolerance and benign authoritarianism throughout—despite the fact that he is the one who sets much of the narrative's action into play, surprisingly few scenes give us insight into his inner workings; the opposite is true for Jodhaa.

In the last decade since Aishwariya Rai was introduced to movie-going audiences, she has grown tremendously as an actress. "Jodhaa Akbar" is not her best work, but it offers ample evidence of her growth along the spectrum of Paro-type roles she has enacted since Bhansalli's "Hum Dil De Chuke Sanam" : Nandini of "HDDCS," Paro of "Devdas," the eponymous Umrao Jaan, and now Jodhaa are essentially different interpretations of the same feminine archetype: a Lady Beloved of the Legends, who, having been robbed of all agency because of her gender, comes to embody beauty, suffering, fidelity, and, of course, love.

Nandini was a flighty romantic, Umrao Jaan a forlorn romantic, and Paro a languishing fool who settled for survival when love literally slashed her away. Jodhaa is decidedly not romantic, being that she is an emblem of her family's honor. She is given away as a peace offering to an emperor who demands alliance and submission only to find that he wants to become her ally in love.

Rai plays Jodhaa as a torn victim, but she is not without her own inner steel: she sets her own conditions for marriage, challenges palace customs, and steps on more than few royal toes along the way, notably those of the unforgiving Maham Anga. She's not as wishy-washy as Paro or as flirty as Nandini, but she is undoubtedly cut from the same cloth. And speaking of cutting, she's first rate in the five-minute sword fight between Jodhaa and Akbar, a scene which goes from swordplay to foreplay.

Rai is slated to play Anarkali opposite Ben Kingsley's Shah Jahan in an upcoming film and has yet another role as the pining courtesan in Bhansalli's next, "Bajirao Mastani." Normally, I would accuse her of self-typecasting, but it seems that filmmakers themselves are unwilling or unable to see her differently. Jag Mundhara did with "Provoked," extracting an emotionally naked performance from her which is without question her finest work to date. Will others be as daring to cast her in similar light? Probably not.

The film works best when the narrative focuses on the interaction between its two leads who are more similar than they perhaps ought to be: both are icons of physical beauty, sexuality, and glamour, but thankfully this has been tampered down by Gowariker's interpretation of the characters. True, Akbar probably didn't have Roshan's sinewy physique, and Jodhaa (whose existence continues to be challenged in certain historical readings) probably couldn't write in Arabic and likely never set foot in a kitchen. But such considerations are immaterial when you're telling a love story.

The other striking thing about the film is that for non-native Hindi and Urdu speakers, the dialogue is virtually incomprehensible without the subtitles. The old fashioned Urdu recitations are especially difficult to ascertain, though sometimes the subtitles only further your confusion. One line in "In Lamhon Ke Daman Mein" which is literally translated as "Beauty is imbibed in cherished blandishments." What???

Gowariker makes a valiant attempt at a film that is war epic, love story, and costume drama all in one, but never does "Jodhaa Akbar" approach the charm or finesse of "Lagaan." The main flaw with the film is that it is overly ambitious: Akbar may have been a polymath, but there's no way a single film could encompass all of his endeavors. Gowariker's script strays into too many quarters looking for the historical Akbar and ends up offering what is an unfortunately shallow characterization. Jodhaa, conversely, has less to occupy her and is more clearly defined.

And so in the end it turns out that "Akbar the Great" is, in celluloid terms at least, "Akbar the Pretty Good."

The most awaited film of the year, Jodha Akbar brings many surprises and brickbats, despite disclaimers clearly stated at the beginning of the film. And the endorsement on the animal rights is impressive, given the fact so many animals were used the making of the movie, the producer left no leaf unturned to ensure the best for the film.

Director Ashutosh is well known for this Oscar nominated Lagaan and critically acclaimed Swades. His latest efforts in bringing magnificence and grandeur to the mughal king's life story is impressive, shows how versatile Ashutosh is in portraying different lifestyles and emotions to the camera. The lavish costumes and sets are hardly a typical Ashutosh material, but he's pulled it off with panache.

In most areas JA is very well done, Hritik looked and acted fabulously, and most believable as a King. One can hardly imagine it is the same mentally challenged guy from Koi mil gaya... Aishwarya's naturally wooden worked to her advantage acting as princess who was forced to get married to a Muslim King.

Character actor Ila Arun shines among the rest, Sonu Sood is a close second. Music is at it's minimal, and best, although the background score was recycled from the songs very often. 'Azeem-o-Shaan Shahenshah' is the best song ever made in the praise of a King.

JA is not flawless, due to the nature of the story inherited the lengthiness and various subplots and due to that the pace was so fast in some scenes that its hard to catch up. And thanks to the English subtitles, i was able to understand the bombastic urdu and Hindi throughout the film...