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All of these scenes just add to the drama and intrigue of the film and make it such a pleasure to watch.Īshutosh Gowariker has gone out and proved exactly why he is one of the top most, if not the top, directors in Hindi cinema. Key sequences that stand out in the film are the opening battle sequence as mentioned above, Hrithik attempting to tame the elephant, Aishwarya’s confrontation with Hrithik’s foster mother (Ila Arun), the misunderstanding between Hrithik and Aishwarya right before intermission, the sword fight between Hrithik and Aishwarya, and the closing battle between Hrithik and his deceiving brother-in-law (Nikitin Dheer).
JODHAA AKBAR REVIEW MOVIE
There are some instances where the film slows down a bit, but overall the movie runs at a brisk pace and it keeps your attention throughout. The film runs at about three and a half hours, but honestly it does not even seem that long.
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The one and only deterrent of the film is obviously the duration. The screenplay is very tight and the script writers have done an excellent job with it. The story is not complicated to follow and it is does not feel like a history lesson like many feel it may be. The movie basically revolves around the politics of the empire and the threats to their relationship. Eventually, she starts to warm up to Akbar and a love is eventually formed. Jodhaa refuses to be used for a political alliance, but eventually caves in for the betterment of her nation. Akbar marries Jodhaa for benefits, but eventually finds himself falling in love with her. The film then turns to the political alliance of a marriage between the two title characters. We get a brief backdrop of the history of the Mughal Empire and a backdrop of our main protagonists. The film starts off with a phenomenal battle sequence, which is a rarity in Bollywood. It is already known that the film is about the marriage and romance of the Rajput princess Jodhaa (Aishwarya Rai) and the Mughal emperor Akbar (Hrithik Roshan). Why? Because Jodhaa Akbar is clearly one of the biggest winners we have seen come out from Bollywood in recent times. Historicals may be a dicey bet in Bollywood, but this is one historical that you can put all your chips in and be sure that you will come out a huge winner. Pulling off a film like this is incredibly difficult, but Ashutosh has pulled of the remarkable feat and makes it look so easy. The entire film is his vision and we are witnessing it through his eyes. Ashutosh believed in his project from day one and never wavered from it and it shows on the screen.
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Ashutosh Gowariker has some big onions to attempt a film like this, but when you’re a man with such high confidence and intelligence, you can make any film and turn it to gold. The film is an epic in every sense of the word. It is grand, rich, beautiful, and gargantuan. There has truly never been a film like this in recent memory. Akbar’s message is relevant to society even today.Astonishment- that is what one feels after watching the epic, Jodhaa Akbar. While protesters refer to such historical documents as Akbarnama to set the record straight, they should also do well to remember that Akbar the Mughal Emperor also formed a sect called Din-i-Ilahi that merged the best elements in all religions and advocated religious tolerance. He goes on to explain that the marriage between the Mughal Emperor and the Rajput Princess, braving the religious and cultural differences, was no ordinary affair - the alliance has important lessons for today’s secular societies. In an exclusive interview with a leading Indian daily, Gowariker, who shot to fame with his Oscar-nominated film, Lagaan, a few years ago, points out that Jodhaa Akbar is “as relevant today as arranged marriages”. It is indeed surprising to see that intellectuals and other enlightened sections of the Indian society are doing precious little to counter the hooliganism of organisations like Akhil Bharatiya Rajput Manch. India seems to be becoming increasingly tolerant of self-proclaimed guardians of the country’s historical and cultural legacy. Over the past few years, the number of frivolous public interest litigations against various art works has been on the rise. From MF Hussein to Deepa Mehta to Ashutosh Gowariker, the artistic community in India is bearing the brunt of a very different kind of cultural policing or militancy that refuses to give any credit to artistic imagination and simply won’t tolerate any artistic freedom. The Rajput uprising against the Bollywood film is nothing new.