Initially we see Akbar’s army defeat the far superior forces of Hemu Vikramaditya in 1556 at the Second Battle of Panipat. Succeeding the throne at 13, he won his first battle at 14, even then showing himself to be a benevolent and wise ruler. She agrees to marry him on condition that she doesn’t have to convert to Islam and is allowed to practice her own faith without heed, and here begins the drama…Īkbar became the most prominent of Mughal rulers because of his successes as a monarch. Through conquests that won him the title of Akbar the Great, to winning the love of ethereal Jodhaa, the film traces the impressive graph of the mighty emperor and his romance with the defiant Hindu princess. A controversial union which was more an alliance between two cultures and religions for political gain. Set in sixteenth century India and based on the life and times of Mughal emperor Akbar, this epic romance focuses on his dalliance and marriage with Rajput (royal) princess Jodhaa. Be very patient, sidetrack history, don't look for the artistry of Lagaan, and you might just like this 'Shahenshahji' (that's what Jodhaa calls Akbar) and his missus who doubles up as a crouching tiger to the hidden dragon.Sumptuous extravagant grandeur the likes of which we rarely see on celluloid is the call of the day as far as this historical epic is concerned. There is an elegance and a fine restraint in their falling-in-love act, even as some of the fringe players - Sonu Sood, Ila Arun, Yuvi - add character and form. Both Aishwarya and Hrithik complement each other once again after ending up as one of the most sizzling couples of contemporary cinema in Dhoom 2. What carries the film through is the performances and bits of the music (AR Rahman). The battle sequences are unimaginative, often tacky, the length inordinate, the political intrigue comic, the editing extremely loose and the narrative does test your patience. Beyond that, the film has nothing much to boast of, except a few interesting song and dance set pieces where dervishes whirl, drums roll and doves fly. And Akbar and Jodhaa are the alluring exponents of this dream. The film talks about a love that transcends all barriers - gender, religion, culture - and dreams of an India where secularism and tolerance are the twin towers that should never ever crumble. Yes, Jodhaa Akbar works only because its heart is in the right place. Then again, when Jodhaa stares out lustily - from behind the curtains - at her bare-bodied, abs-o-lutely oomphy husband practising the sword on the terrace, or does some more nakhre-baazi when Akbar dozes off unspent on her bed, that sparks fly and chemistry crackles.
It is only when an iridescent Jodhaa shows nakhra on her wedding night, declaring 'no sex please, until I know you', or Akbar stares at her longingly, passionately, on the distant parapet, while his governess instils state craft into his inattentive head, that the film really works.
Because, despite the millions spent to create period and pomp, the film only works when Hrithik and Aishwarya try to find romance in an archetypal arranged marriage that was solemnised for everything but love. If you are willing to shed off all the trappings of history, only then will Jodhaa Akbar work for you. And instead of the car chases and the roller-blade rides that pepper modern-day romances, you have mad elephant tamings and sword-and-sandal battle sequences to rev up the dramaaaa.
No, we aren't going to quibble with history here because Jodhaa-Akbar is a plain and simple love story between a man named Akbar and a girl named Jodhaa who tried to come close together despite the sundry barriers of religion and culture.
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