The challenge of translating a historical era into a cinematic endeavour is daunting, especially when it concerns historically contested subjects such as the fabled love between 16th century Mughal Emperor Akbar and Jodha Bai, the legendary princess from Rajputana who later ruled India as Empress and symbolised the Hindu-Muslim accord of the times. However, it is not historical accuracy, or lack thereof, which defines the rather exasperating cinematic narrative of an otherwise glorious period of the subcontinent’s history. It is the facile treatment of history, its interpretative variants and its actors that makes the Bollywood film Jodhaa-Akbar a disappointment.

Akbar’s reign symbolised the zenith of the Mughal Empire and also some of its unique attributes. Whether it was the secular, tolerant governance based on the Sulah-i-Kul (peace with all) policy, opening up the frontiers of theological discussion, effective administrative systems or promotion of Indo-Mughal art forms, Akbar was a pioneer in most respects.

Jodhaa-Akbar attempts to capture the essence of that particular moment: the Indianisaton of the Mughal court and most importantly, the royal household. Whether it is to do with the grafting of a temple within the Agra fort or the introduction of vegetarian meals, these were significant markers for centuries to come, enabling a tiny Muslim minority to rule the non-Muslim majority. But the film fails to handle this momentous phase of history appropriately and instead churns out a masala mix that, despite the massive budget, results in mediocre film-making.

This is not to say that the film is without merit. It is visually stunning in places and A R Rehman’s music is outstanding. The two stars – Ashwariya Rai and Hrithik Roshan – provide glamour and unreal beauty. The settings are competently improvised and yes, the feel of the whole cinematic experience does convey the clichéd Mughal aura of splendour, excess and a hybrid aesthetic. Rai and Roshan exude that enigmatic chemistry which makes them an attractive pair on screen.

But it is the treatment of the subject, characters and nuances that disappoints, especially when one remembers director/producer Ashutosh Gowariker’s earthy and under-your-skin rendition in Swades . In the pursuit of commercial success, Ashutosh relies on soft plagiarism. The battle scenes remind one of the Hollywood blockbuster Troy; the inanimate army contingents resemble those in Gladiator; and the sword fighting sequences re-enact the visual tricks of Crouching Tiger, Hidden Dragon . But these are all still pardonable. (more…)

“..calling it a film is to abuse both the English language and the legacy of cinema”

Yesterday, a friend sent an internet link to Mr Wilders’ crappy excuse of a “film”. It was so silly, distastefully offensive that I felt pity at Wilders’ utter lack of talent and skill. By according more attention than the idiotic film, the Muslims will only make him more popular and a rallying point for Islamophobia disguised as freedom of expression. Wilders has to be ignored and all peaceful protest against Islamophobia should continue.

As always, my dear friend Ali Eteraz is on top of things - by way of his intelligence and wit evident from this excellent article.

What I’m really wondering: is Wilders’ protesting against Islam or the monopoly extremists already have over grainy, low-budget, YouTube videos? …….

The rest of the film is a mixture of conflating the most painful and heart-wrenching images from terror-strikes with extremist imams, in an effort to turn the entirety of Islam into a demonic edifice. This is neither new, nor interesting. It is a facile trick for facile minds…. (more…)

Khalid Hoseni’s book, now turned into a film has been a best seller. It is touching as a personal narrative and indeed quite well-written. However, the issue with the book and more so with the film is this redemption - the saviour complex - that subtly ties in with the political discourse on Afghanistan. That external forces need to save it and somehow repair its fissures and heal its wounds. What can be farther from the truth?

Found this engaging review - am quoting some passages here: (more…)

Music and Love share a primordial bond. None other than the legendary and a genius of our times Allah Rakah Rahman, better known to the world as A.R. Rahman appreciates it at a much deeper level. The composer who has been honoured by the world and the subcontinent, he is a follower of the Chishty school of Sufism.

After a glorious career path and adding melody to South Asian music, A R Rahman has set up a music conservatory in India dedicated to none other than Khawaja Ghareeb Nawaz of Ajmer. Two letters, K and M, are lucky for Rahman and also reflect his devotion to the great Saint, his teachings and all-encompassing spirituality. (more…)

My blogger friend, Manasvi wrote this reviewof Jodha Akbar and I am glad that the film is good.

Jodha Akbar brings to cinema an epic love story that even if imagined is just too wonderful.

There have been controversies about the fact that recorded history has little evidence on the character of Jodha Bai. My simple question is: what about the oral histories of the subcontinent. Why must we always remain beholden to court historians and foreign travellers - why not respect what generations have believed over time? (more…)

Interesting developments in Pakistani cinema: first the release and accolades that a newly released Khuda Ke Liye (In the name of God) received and now the screening of a Mahesh Bhatt film in Pakistan defying conventional wisdom and using innovative ways of selling it to officialdom. Himal magazine has published a report entitled Filmi cooperation. Here is an excerpt:

The release on 13 July of Indian director Mahesh Bhatt’s film Awarapan (roughly translated as ‘Wanderlust’) in 22 cities in Pakistan was no ordinary event. There had been little hope that the Censor Board of Pakistan would issue a certificate to the film’s co-producer, Sohail Khan, to allow the film’s public screening. Even once that certificate was obtained, religious fundamentalist forces and associations of local film directors and producers issued multiple warnings against Awarapan’s Pakistan release.

Shahzada Irfan Ahmad says that the issue is more of economy rather than ideology.

Read the full entry here.

I had seen the movie a month ago. Awarapan as a film has its weaknesses - the plot in part is stereotypical, there is unnecessary violence, the “secular” cliche of Hindu boy falling for a Muslim girl is re-invoked; and it is a wee bit long. But it deals with the issue of human trafficking, portrays Islam and Muslims in a sensitive manner (unlike the hysteria on terror and terror-plots) and develops the protagonist’s character rather well. Our hero Imran Hashmi was better known for his intimate encounters on the cinema than his acting skills. He is a protege of the Bhatts and this time they have made an actor out of him.

Not a bad effort, on balance!

It is an interesting coincidence that the new Bollywood film, Gandhi - My Father has been released days before the subcontinent celebrates sixty years of independence. This well made film revisits Gandhi’s personal life and his troubled relationship with his son Harilal who died the same year as his father.

I saw the film yesterday and it was deeply tragic and moving at the same time. The conflict between parenting and leading a nation was delicately handled by the director, Feroze Abbas Khan. Gandhi could transform India and was a Bapu for the world but Harilal suffered in this larger scheme of fate, history and politics.

Akshaye Khanna has proven his mettle with the right director and a larger than life role - he portrays the various moods and phases of his tragic life with an amazing ease. He is truly gifted. Darshan who plays the Mahatama is also excellent and the two wives are also the sensitive characters, who while secondary to this major relationship bring much depths to the drama.

Bollywood has finally broken several barriers; and it is refreshing to see that our neighbours are recognizing that their leaders were after all humans. And this humanity adds to their stature.

Hope we also learn from this trend and stop treating our founding fathers as deities. Amazing that Gandhi and Jinnah both had to compromise their personal lives over national interests. Jinnah’s daughter did not move to Pakistan; and their relationship also became most tragic once the Quaid was close to realising the dream of Pakistan.

Interestingly, the movie reiterates Gandhi’sfamous quote where he confessed that there were two people whom he could not convince - his ‘Muslim friend’, Mohammad Ali Jinnah and his own son Harilal.

The film has its weak moments - it becomes slow paced at times and loses focus as the demands of commercial cinema make the script meander. Another irritating issue is the constant effort of the film-makers to maintain Gandhi’s stature as Mahatama. The constraints can be appreciated given Gandhi’s legendary status in India. There are times when Gandhi does appear to be a bit insensitive to his son. However, his adherence to the national cause and keeping his personal and family interests subordinate to those of India and her people is highlighted throughout the narrative.

The backdrop is the Indian struggle for Independence and this by itself makes a great viewing. Of course, the historical narrative is straight from the Indian nationalist discourse and views the demands of Muslims from that perspective. This is understandable given the subject but it does irk one a little. Why can’t a more nuanced understanding emerge? After all, Mr Jinnah had agreed on a united India during the talks on Cabinet Mission. It is a sad fact of history that the Congress rejected the Cabinet Mission Plan and not the Muslim League. The film sounds a little simplistic when the narrator states that a pained Gandhi accepted partition to avoid further bloodshed! That may be true as well. History is not that linear as claimed but then this was not the theme of the film.

Overall, it is a touching film that should not be missed by those interested in quality cinema and history.

From daily DAWN:

STOCKHOLM, July 30: Legendary Swedish film director Ingmar Bergman, who influenced a generation of film-makers with his often stark works on themes of mortality and sexual torment, died on Monday at the age of 89.

For many movie buffs, Bergman was the greatest of the authorial film-makers of the 1950s and 1960s, outranking even such figures as Federico Fellini, Luis Bunuel or Jean-Luc Godard.

The self-taught film-maker and scriptwriter died in the morning at his home on Faro Island in the Baltic Sea, Cissi Elwin, chief executive of the Swedish Film Institute, said.

Earlier this month, Bergman put in a brief appearance at the annual celebration on Faro Island of his half-century career, but remained in a wheelchair and seemed very tired, she said.

Ernst Ingmar Bergman was born in Uppsala, Sweden, on July 14, 1918, the second of three children.

Bergman was famed for films such as ‘Wild Strawberries’, ‘Scenes From a Marriage’ and ‘Fanny and Alexander’ — a classic that won four Oscars — and made him an acknowledged master of modern cinema.

‘Fanny and Alexander’, was the director’s last big screen production.—Agencies

A moving tale of a young boy and his family trapped in the circumstances of rural Bangladesh and the turmoil of late 1960s. Read article here >>

 I finally got hold of the digital images of some lovely prints by Samar Ataullah - a graduate of the National College of Arts, Lahore.

View all here >>