Reviewed by: Randall Larson Ashutosh Gowariker's Jodhaa Akbar is a massive, epic-level historical adventure from the director of Lagaan, one of India's few previous sweeping historical films. Taking a heavy influence from the style of Asian historical epics like Zhang Yimou's Hero or Curse of the Golden Flower, or John Woo's recent Red Cliff, Gowariker expands this sixteenth century love story about a marriage of alliance that gave birth to true love between a great Mughal emperor, Akbar, and a Rajput princess, Jodhaa. The film has a timely relevance as it depicts Akbar, a Muslim, entering into a political marriage with Jodhaa, a Hindu, and eventually paving the way for tolerance of all religions throughout what was then Hindustan (India). Like most Bollywood productions, the film is long (3.5 hours) and contains a number of songs, although in this case they appear as set-pieces in the emperor's court, rather than separated song-and-dance numbers as in most Bollywood pictures. The film concentrates on story and its sweeping depiction of history. Boasting excellent performances from Hrithik Roshan as the benevolent warrior Akbar, and the dazzling Aishwarya Rai (sadly, now credited as Aishwarya Rai-Bachchan) as the strong-willed Jodhaa, the lavish film spectacle is enhanced by a thoroughly orchestral music score by acclaimed composer A.R. Rahman (no stranger to historical epics; he'd also scored Gowariker's Lagaan as well as He Ping's glorious 2003 Chinese epic fantasy, Warriors of Heaven and Earth). Rahman's Jodhaa Akbar is rich in pervasive orchestral tonality, low horns and chorus, as well as very lyrical, measured musical semblances.
The Jodhaa Akbar soundtrack CD, issued in both single disc and 2-disc special editions (the latter includes a DVD with the movie trailer and a few text-based reference screens), contains four of the film's songs, including the main chorale song, "Azeem O-Shaan Shahenshah," sung by a chanting male choir over hauntingly low horns and a rumbling base of pounding drums and shaker, and seen in the film in a colorful and superbly choreographed dance number presented for Akbar in his court. The song effectively evokes period and the patriarchal pageantry, until a female chorus joins at about 2:25 and evokes the kind of unity that embodies the film's main theme. A neat whiplike percussion effect adds an intriguing effect at 2:55, and the film takes on a very likable instrumental sensibility, especially if you don't understand the words. "Mann Mohanna," sung by Bela Shende (dubbing for Aishwarya Bollywood songs are always sung by different vocalists than the performing actors), is a gorgeously lyrical song, heard in the film when Jodhaa's earnestly sung prayer (bhajan) to Sri Krishna moves Akbar; an instrumental bridge at about 1:10, allows Rahman's fluid violin lines and soft tablas to waft serenely across the soundscape, building into a lovely romantic theme for the characters; the vocal returns but alternates with several persuasive instrumental passages, dramatic violin figures churning over light woodwinds, fragile flute filigrees, as the film segues into a montage of Akbar and Jodhaa's increasing attraction for one another. The other three songs are credible ballads; "Jashn-E-Bahaaraa," sung by Javed Ali as Akbar becomes further enamored by Jodhaa; and she he; "Inn Lamhon Ke Daaman Mein," heard as Akbar and Jodhaa realize they are in love, despite their religious differences; "Khwaja Mere Khwaja," is the provocative men's choral number sung by the Muslim group in Akbar's honor. The album closes with two instrumental tracks unfortunately these are not actual score cues, but instrumental versions of two of the songs, "Jashn-E-Bahaaraa" and "Khwaja Mere Khwaja," with flute and oboe, respectively, taking the vocal lines which leaves the bulk of Rahman's excellent dramatic underscore unavailable on CD a regrettably common occurrence in Bollywood soundtracks. At the same time, Rahman has rearranged these instrumental racks to allow full range and development of their tonal nuances, rather than simply letting the instrumental backing run sans vocals; the latter number is performed by a Western orchestra, with harp assuming the role of tabla, which gives it an entirely new sound from its initial vocal presentation. The result is a pair of very pleasant and ornately textured pieces. I'd really like to see more score albums from India/Bollywood film music but almost none of it is extent. Still, the instrumental tracks on Jodhaa Akbar are appealing, and the songs are attractive and intricately rendered. As a historical drama, as massive in battlefield vigor as it is in luxuriant splendor, and with music to match, this is a likable recording. The two-disc edition (pictured), comes in a quad-fold keepcase with gorgeous photos of Rai and Roshan in splendid period costuming, and codes to access ring tones and exclusive cellphone downloads. http://www.musicfromthemovies.com/review.asp?ID=7529 <http://www.musicfromthemovies.com/review.asp?ID=7529> -- regards.. Krish.. His Music ~ My Mother Tongue
