Jodhaa Akbar is a visual delight for everyone who enjoys classic drama and history. It’s an exceptionally crafted film that offers spectacular views, architecturally magnificent sets, and gorgeous costumes. Directed by Ashutosh Gowariker, it is a sixteenth-century true story about the political marriage of a Mughal emperor, Jalaluddin Mohammad Akbar, and a Rajput princess, Jodhaa. It was released worldwide on February 15, 2008. Hrithik Roshan and Aishwarya Rai Bachchan portray the lead roles. Handling the nitty-gritty intricacies of history may be tricky, and Jodhaa Akbar takes a few liberties – not everything is directly out of the textbook. But then, that’s the only way to keep a movie from becoming nonfiction. Another aspect that comes to the fore in Jodhaa Akbar is the regard shown to family members, friends, and partners. Throughout this remarkable Indian film, we see how this kind of radical respect may change all our lives and the lives of others. Moreover, it also illustrates how even an emperor can be a humble learner regarding affection, how he grows as a man after discovering love, and how he begins to reject battle, embrace peace, and become a better king.
The set of the Jodha Akbar film evokes grandeur and attention to detail. The set designer Nitin Chandrakant Desai was keen to give attention to all the details. The forts of Rajasthan were the inspiration for these massive set designs. The interiors of the forts were accurate replicas, but the exteriors were authentic buildings. In addition, the set Designer produced an inch-by-inch duplicate of the Agra fort, Deewan-i-Khas, Deewan-i-am, and fully landscaped Mughal gardens. The set was 1,600 feet long, 600 feet wide, and 68 feet tall. The fort was as high as a seven-story building and was comprised of concrete, fibre, asbestos sheets, scaffolding, and pipes. The total cost of the Karjat set was expected to be over 120 million.
Rajasthan‘s Rajput palace’s surroundings seem more vibrant and appealing than the Mughal royal rooms. The costumes are another film highlight: Jalaluddin looks dazzling and majestic, and great care has been taken to ensure that every character in the film looks authentically vintage. The cinematographer has done a fantastic job, particularly in the opening fight sequence, the enormity of which sets the tone for the rest of the picture. The cameraman used six cameras to record the finale scene from different perspectives. He was motivated by films such as Gladiator (2000) and Troy (2004) since he felt the “basic tone” of the landscapes in those movies to be identical to Rajasthan’s desert settings. Another feature of this film is Rahman’s soundtrack. Music and dance, characteristics of Bollywood films, are effortlessly interwoven into the tale rather than causing a gap in the drama.
A period drama’s research stage is frequently one of the most critical, and Jodhaa Akbar’s wasn’t any different. Because there was very little relevant material available from the historical period, designers had to rely on paintings and texts by near-contemporaries. They were familiar with the challenge of balancing historical truth and current-world resonance. As film directors develop experience in design. Lights, artificial materials, wood, cardboard, metal sheets, fibre, paint, and plastic create fictitious landscapes and towns.
The costumes and cosmetics are equally magical, and they help us appreciate the lifestyle of the 16th century. Neeta Lulla, a costume designer, spent a year and a half researching the garments folks wore during the Mughal Empire. She travelled to Jaipur to learn about the popular fabrics during that period. She designed garments conceptually, using yellow, orange, and red for the Rajputs and gold, brown, and beige for the Mughals.
The combination of curtains, marble screens, fine translucent muslins, and jaali work objects positioned between the camera and the actor creates a feeling of mystery and excitement throughout the film. Angles are used to great advantage; in fact, broad angles are used frequently to showcase not only the character but also the work of the art direction team. This greatly enhances the “spirit” of the era; however, on one or two points, It felt that close-ups of the actors would have been ideal. All of this is portrayed in the grand and occasionally extravagant settings of Mughal India, the splendour of court life, the lavish life of royalty, the adventure of battle, and the complex collaborations and rivalries that ran widespread in the empire’s governance.
Big “historical” films (not just in India) are better understood as ideologically charged fantasies that access an imaginary past to remark on the present. However, Gowarikar has done an excellent job of weaving the past and present with subtle intricacies and aesthetics. When the screen is flowing with the glitzy attire and display of the royal courts, as beautifully documented by Gowariker, Akbar speaks louder than words. These pictures of imperial magnificence remain more powerful visual impressions of brief elements and events than fully formed ideas.
Citations:
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