Starring Aishwarya Rai, Hrithik Roshan, Sonu Sood, Ila Arun, Niketan DheerDirected by Ashutosh GowarikerRating: *** ½There's Akbar, in full regalia, watching a traditional sufi qawalli when he suddenly goes into a spritual trance and joins the qawwalls for a dance to divinity.This historic moment that takes us beyond the distending dynasties of Mughal history, couldn't have been possible without Hrithik Roshan's amazing capacity to infiltrate the portals of divinity through dance movements.
Very often as we, wonder-eyed and open-mouthed, traverse the sanguinary and simply-stunning spectacle of Ashutosh Gowariker's historical epic, we end up looking at King Akbar as interpreted by Hrithik Roshan rather than as what the Mughal myth might have been.The body language of the sinewy sword-wielding poet-warrior takes us back to Mel Gibson in Braveheart and Tom Cruise in The Last Samurai rather than Prithviraj Kapoor who played King Akbar in K Asif's undying classic Mughal-e-Azam with such imposing imperiousness.Is Gowariker's Mughal-e-awesome fated to be as tall and magniloquent as Asif's deserved costume drama? In terms of the creative and visual terrain covered in the course of the 3 hour-20 minute journey from history to hysteria from mellow to melodrama, and back, Gowariker's vision subsumes a reined-in wealth of ideas and images suppressed into an opulent but aesthetic orgy of love, romance, war, hatred and secularism and sublimity.The noble ghteousness of the creative mind (so evident in Gowariker's earlier films Lagaan and Swades) here jumps out of the screen to seize the audience by the solar plexus and transport us into an era when brother battled brother in bitter rage..But love,kambakht ishq, blossomed in the inner chambers of a secular Muslim emperor who married a fiercely individualistic Rajput queen and allowed space to be her own person.Wisely the narrative patterns Akbar's chequered life love and wars through the various characters who influence his mind and heart. To begin with we see the young Akbar being moulded into a violent creature of revenge and acquisition by his senapati-mentor Bairam Khan (Uri).
Very often as we, wonder-eyed and open-mouthed, traverse the sanguinary and simply-stunning spectacle of Ashutosh Gowariker's historical epic, we end up looking at King Akbar as interpreted by Hrithik Roshan rather than as what the Mughal myth might have been.The body language of the sinewy sword-wielding poet-warrior takes us back to Mel Gibson in Braveheart and Tom Cruise in The Last Samurai rather than Prithviraj Kapoor who played King Akbar in K Asif's undying classic Mughal-e-Azam with such imposing imperiousness.Is Gowariker's Mughal-e-awesome fated to be as tall and magniloquent as Asif's deserved costume drama? In terms of the creative and visual terrain covered in the course of the 3 hour-20 minute journey from history to hysteria from mellow to melodrama, and back, Gowariker's vision subsumes a reined-in wealth of ideas and images suppressed into an opulent but aesthetic orgy of love, romance, war, hatred and secularism and sublimity.The noble ghteousness of the creative mind (so evident in Gowariker's earlier films Lagaan and Swades) here jumps out of the screen to seize the audience by the solar plexus and transport us into an era when brother battled brother in bitter rage..But love,kambakht ishq, blossomed in the inner chambers of a secular Muslim emperor who married a fiercely individualistic Rajput queen and allowed space to be her own person.Wisely the narrative patterns Akbar's chequered life love and wars through the various characters who influence his mind and heart. To begin with we see the young Akbar being moulded into a violent creature of revenge and acquisition by his senapati-mentor Bairam Khan (Uri).