#Story of jodha akbar in hindi movie
Indeed, everything about the movie is gorgeously beautiful, beginning with the principal players, and (though the storyline takes arguable liberties with known history) production values are sky-high and obvious visual anachronisms relatively few-the most striking perhaps being Jodhaa’s Krishna statuette, which looks like a 19th-century German porcelain rather than the big-eyed, black stone murtis typical of the Mughal period. It’s a bit like taking a vacation in 16th century North India, without the risk of contracting plague or being decapitated by a warlord. The best approach to it (now that it’s out on DVD, with its long halves neatly divided between two disks) is to find a comfortable couch on an unhurried evening (or two) and just let it wash over you. Rahman music, unexpectedly strong performances, and an obvious but unobjectionable didactic message (the promotion of inter-religious tolerance, especially between Hindus and Muslims). More truly “historical” in subject matter but far looser in plot, JODHAA AKBAR is an essentially atmospheric experience of breathtaking cinematography and mise-en-scène, lovely A. In the grand tradition of Indian (and Bombay cinematic) storytellers, Gowariker is unwilling to send anyone home in under three-plus hours his remarkable debut film, LAGAAN, acclaimed as a revival of the rarely-made genre of the “historical,” was a tautly-paced underdog sports saga set in the colonial period that kept viewers on the edge of their seats for nearly four. Rahman cinematography: Kiiran Deohans production design: Nitin Chandrakant Desai costume design: Neeta LullaĪshutosh Gowariker’s sumptuous tribute to the Mughal Empire at the height of its culturally-syncretic glory unfolds with the leisurely gait of an imperial elephant. Story: Haidar Ali screenplay: Haidar Ali and Ashutosh Gowariker dialogues: K. And this is where the soft romance between Akbar and Jodha gets mired in irony.Produced by Ronnie Screwvala and Ashutosh Gowariker Having dwelt upon Jodha’s preferred status in Akbar’s life, Akbar’s subsequent marriages cannot be wished away.
That Jahangir, Akbar’s successor, too is appreciated as a liberal leader, perhaps only shows the indirect influence that Jodha might have made politically. Akbar’s fondness for Jodha only made him more accepting of Hindu rituals. It is also accepted that Jodha had the permission to worship in the Hindu way in her palace and continued to remain a devotee of Lord Krishna. Jodha used her influence to build gardens, wells, and mosques around the country. She was Akbar’s only queen who could issue farman (official decree), which was normally the exclusive privilege of the emperor. Subsequently, Jodha is said to have enjoyed increased clout over political matters. Was Akbar’s affection for Jodhabai thus familial and borne out of a sense of gratitude? Akbar’s first queen was the childless Ruqaiyya Begum, and his second wife was Salima Sultan, the widow of his most trusted general, Bairam Khan.Ī sense of desperation seemed to mark Akbar’s prayers at the dargah of the Shaikh Salim Chishti, which later led to the birth of his first surviving child Jahangir. But apart from her personality attributes, she gave Akbar what his other queens could not - an heir. Jodha, it is said, was extremely gorgeous and dignified. What then could have possibly led to Jodha being given this preference? Yet, there seems to be near unanimity over Jodhabai being referred to as Akbar’s favourite queen. History does not corroborate any instance of Akbar’s romance with Jodhabai in the real sense. The law of Hindu succession has always been patrimonial, so the threat to lineage, in marrying their princesses for political gain, was pretty inconsequential.
The fact that other Rajput kingdoms, subsequently, also established similar matrimonial alliances with Akbar, cannot be disproved. It will be interesting to note here that there is little clarity on the total number of wives that Akbar eventually had. Hira Kunwari (Jodha’s maiden name) was married to Akbar on January 20, 1562, at Sambhar near Jaipur. Akbar’s marriage with the daughter of Raja Bharmal of Amber (modern day Jaipur) was quite unequivocally a device used for political acquisition.
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