Adicionar um enredo no seu idiomaA 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, Jodha.A 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, Jodha.A 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, Jodha.
- Prêmios
- 38 vitórias e 35 indicações no total
- Mallika Hamida Banu
- (as Mrs. Punam S. Sinha)
- Todar Mal
- (as Pramod Muthu)
- Saadir Adaasi
- (as Vishwa Badola)
- Bairam Khan
- (as Yuri)
Enredo
Você sabia?
- CuriosidadesHrithik Roshan had a very "filmy" horse. The horse used to know what words like action meant and so when she heard action, she would take off, even if the scene required her to be stationary. Hence the crew would use other words instead of action to avoid the horse taking off. The names of his horses were Chandni and Superman.
- Erros de gravaçãoPotatoes are native to the Americas. The scene in which the vegetables are kept ready for Jodha's cooking shows potatoes. The film is set in second half of 16th century when potatoes had just reached Europe and potatoes were introduced in India much later.
- Citações
Todar Mal: [DVD English subtitles by Nasreen Munni Kabir]
[Akbar and Jodhaa, in private argument]
Jalaluddin Mohammad Akbar: I don't understand?
Jodhaa Bai: No, you don't! You know how to wage war and conquer. But do not know how to rule.
Jalaluddin Mohammad Akbar: [confused] What did you say?
Jodhaa Bai: That you have only conquered me, but not won my heart yet... you should have at least tried to know what really happened. But the truth is that you are far removed from reality. You do not know how to win hearts. To do that, you need to look into their minds, discover their little pleasures and sorrows. And win their trust. Be one with their heartbeat! And the day you will succeed in doing that, you will rule my heart.
[2nd scene later, Akbar visits Agra Bazaar disguised as a commoner, accompanied only by two trusted court ministers, Todar Mal and Mahesh Das]
Todar Mal: Your Majesty, why are you doing this? Roaming in the bazaar without guards is dangerous.
Jalaluddin Mohammad Akbar: Don't worry. No one will recognize me. I'm doing it since there's a difference between conquering and ruling. To win the hearts of people, one must look into their minds.
- Cenas durante ou pós-créditosSome titles in the end credits have images from the movie which represent the certain department:
1)For choreography a screenshot from the song "Azeem-o-shan Shehensha", which shows the dancers.
2)For dialogues, screenshot of Jodhaa's letter to Sujamal.
3)For music, screenshot from the song "Azeem-o-shan Shehensha", which shows the drummers.
4)For production design, the fortress.
5)For costumes, screenshot from the song "Azeem-o-shan Shehensha", which shows Jodha and Akbar standing together.
6)For stunts, a battle screenshot.
7)For editing, screenshot of Jodha and Akbar's swordfight, with theirs swords overlapping and forming a scissor shape.
8)For religious consultants, screenshot of Akbar's meeting with the scholars.
9)For jewelry, screenshot of Jodha with Nelakshi in the back, right after the wedding night.
- Trilhas sonorasAzeem-O-Shaan Shahenshah
Written by Javed Akhtar
Composed by A.R. Rahman
Performed by Mohamad Aslam, Bonnie Chakraborty and chorus
Courtesy of UTV Music
Romeo and Juliet, Hamlet, and Pocahontas were all real people whose life stories have been told and retold in popular Hollywood films, each retelling adding and embellishing elements of the story which have helped the stories attain the status of pseudoreligious myth. India certainly has a rich history of quasi-historical legends: Anarkali, Heer-Ranjha, Umrao Jaan, Devdas, and now Jodhaa-Akbar.
Let there be no doubt: this is not a documentary nor do the filmmakers make any overt attempt at a documentary characterization of Akbar. History tells us that he was a unique and even megalomaniacal emperor: he had many wives and untold numbers of concubines in a harem which (depending on which account you believe) included a few male lovers, invented his own religion in which he was divine, and held court with atheists, Jews, and Jesuits, a practice which would become decidedly less common with future emperors.
Hrithik Roshan puts up what is probably his best performance as Akbar, though he is hindered by the sheer volume of activity making up the plot: an absent queen mother, sinister foster mother, devious brothers, and, above all, a reluctant wife, all demand his attention. Roshan is at his best when Akbar is wooing a banished Jodhaa and when he ventures off into his kingdom; in many ways, Akbar remains a symbol of tolerance and benign authoritarianism throughoutdespite the fact that he is the one who sets much of the narrative's action into play, surprisingly few scenes give us insight into his inner workings; the opposite is true for Jodhaa.
In the last decade since Aishwariya Rai was introduced to movie-going audiences, she has grown tremendously as an actress. "Jodhaa Akbar" is not her best work, but it offers ample evidence of her growth along the spectrum of Paro-type roles she has enacted since Bhansalli's "Hum Dil De Chuke Sanam" : Nandini of "HDDCS," Paro of "Devdas," the eponymous Umrao Jaan, and now Jodhaa are essentially different interpretations of the same feminine archetype: a Lady Beloved of the Legends, who, having been robbed of all agency because of her gender, comes to embody beauty, suffering, fidelity, and, of course, love.
Nandini was a flighty romantic, Umrao Jaan a forlorn romantic, and Paro a languishing fool who settled for survival when love literally slashed her away. Jodhaa is decidedly not romantic, being that she is an emblem of her family's honor. She is given away as a peace offering to an emperor who demands alliance and submission only to find that he wants to become her ally in love.
Rai plays Jodhaa as a torn victim, but she is not without her own inner steel: she sets her own conditions for marriage, challenges palace customs, and steps on more than few royal toes along the way, notably those of the unforgiving Maham Anga. She's not as wishy-washy as Paro or as flirty as Nandini, but she is undoubtedly cut from the same cloth. And speaking of cutting, she's first rate in the five-minute sword fight between Jodhaa and Akbar, a scene which goes from swordplay to foreplay.
Rai is slated to play Anarkali opposite Ben Kingsley's Shah Jahan in an upcoming film and has yet another role as the pining courtesan in Bhansalli's next, "Bajirao Mastani." Normally, I would accuse her of self-typecasting, but it seems that filmmakers themselves are unwilling or unable to see her differently. Jag Mundhara did with "Provoked," extracting an emotionally naked performance from her which is without question her finest work to date. Will others be as daring to cast her in similar light? Probably not.
The film works best when the narrative focuses on the interaction between its two leads who are more similar than they perhaps ought to be: both are icons of physical beauty, sexuality, and glamour, but thankfully this has been tampered down by Gowariker's interpretation of the characters. True, Akbar probably didn't have Roshan's sinewy physique, and Jodhaa (whose existence continues to be challenged in certain historical readings) probably couldn't write in Arabic and likely never set foot in a kitchen. But such considerations are immaterial when you're telling a love story.
The other striking thing about the film is that for non-native Hindi and Urdu speakers, the dialogue is virtually incomprehensible without the subtitles. The old fashioned Urdu recitations are especially difficult to ascertain, though sometimes the subtitles only further your confusion. One line in "In Lamhon Ke Daman Mein" which is literally translated as "Beauty is imbibed in cherished blandishments." What???
Gowariker makes a valiant attempt at a film that is war epic, love story, and costume drama all in one, but never does "Jodhaa Akbar" approach the charm or finesse of "Lagaan." The main flaw with the film is that it is overly ambitious: Akbar may have been a polymath, but there's no way a single film could encompass all of his endeavors. Gowariker's script strays into too many quarters looking for the historical Akbar and ends up offering what is an unfortunately shallow characterization. Jodhaa, conversely, has less to occupy her and is more clearly defined.
And so in the end it turns out that "Akbar the Great" is, in celluloid terms at least, "Akbar the Pretty Good."
- akbarnali
- 18 de fev. de 2008
- Link permanente
Principais escolhas
- How long is Jodhaa Akbar?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Central de atendimento oficial
- Idiomas
- Também conhecido como
- 帝國玫瑰
- Locações de filme
- Roopangarh Palace, Rajasthan, Índia(Where the Rajas meet for the first time)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- ₹ 400.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 3.440.718
- Fim de semana de estreia nos EUA e Canadá
- US$ 1.300.000
- 17 de fev. de 2008
- Faturamento bruto mundial
- US$ 26.935.618
- Tempo de duração3 horas 33 minutos
- Cor
- Mixagem de som
- Proporção
- 2.35 : 1