Yes, I caught a little TV last night. A little less sleep as well! Was actually sitting down to watch my favourite shows on Star - Seinfeld & Friends, when I saw Ashutosh Gowarikar on the telly. I stopped, wondering how it had got this far. Very interesting actually. There was a panel that comprised film folk (Gowarikar, Farooque Shaikh, Sudhir Mishra, a fairly pansy Komal Nahata & another film critic), a lady historian, and the root cause of all the trouble in Rajasthan a certain Mr. karni (described as the patron(!) of the karni sena).
Some excerpts:
karni was ranting about his problem actually being with the depiction of Jodha Bai as Akbar’s wife when she was actually his daughter in law. He found that offensive & disparaging to the Rajputs. I wonder if that was actually the motivation behind it, but if it was I thought fair point. Until I heard Nahata speak. Nahata said that the movie had been in the making for 2 years, that the name had been in the offing for 5 months before the release of the movie. Why did the karni sena have to wait for the release to protest? Hmmm… Interesting.
Nahata also pointed out that none of the protests in Rajasthan were peaceful requests to cinema owners. He rattled off names & locations of various cinemas in Rajasthan & Madhya Pradhesh where the owners have said that they are scared as they’ve been told politely that their cinemas will be burned down if they screen the film. At this point Farooque Shaikh (ever the gentleman) asked whether this was a lawful form of protest. Why could they not go through the Indian Legal system, the courts instead of protesting in such barbaric ways?
The anchor (can’t seem to recall his name) pointed out that the legal system takes about 30 years to resolve a case & by that time the movie will have influenced crores of people. To which Farooque quietly said something to this effect, “If Rajput history hasn’t been hurt in 700 years, what difference could another few years possibly make?”! Hmmm… Very Interesting.
Mr. karni was making some noises in totally unintelligible English about the future possibility of Indira Gandhi being potrayed as Gandhiji’s daughter. The anchor then asked Ashutosh if he felt that he had an additional responsibility since he was making a movie on historical figures. Ashutosh (& the historian lady) agreed. Ashutosh said that he had spoken to the current Raja & Rani of the Kachchawa dynasty of Jaipur before he made the film & as part of his research, as Jodha belonged to their family. He stated that he had narrated his script to them & that they’d given him the go ahead with both the depiction of Rajputs in the film AND the name Jodha (as that was what they too believed her name to be, from among the plethora of names she is referred to by historians)! I’m assuming the right-wing brigade is now going to label this royal family of Jaipur, traitors & pseudo-hindus (HOW I ABHOR that term!)
At this point some of the film folk asked how many no-objection certificates should a film-maker obtain? In response to a later suggestion by an audience member, the historian lady also said that she “didn’t think it was practical”. A film-maker approaches the censor board for a certificate. Nowadays they apparently approach the animal welfare board for a certificate too. Ashutosh does his research very well, consulting Jodha’s descendants besides a variety of historians, yet he must strive for another few NOC’s! Farooque (by now the legal eagle) said that the right way of lodging a protest is to ask the censor board to step into court. Let them fight the case, why should the film-maker be constantly bothered?
A valid question came from the anchor again: What if someone makes a film deliberately tampering with history? Would the filmy panel still back his creative license?
Sudhir Mishra then gave the example of the despicable mee nathuram godse boltoay. He said that to him Gandhiji was the greatest son that India produced. He said that to him the very idea of the aforementioned (can’t bring myself to type out that name again!) play is anathema. He said he “abhors” it. Yet he will stand up for the playwright’s right to write & show it. This is the “bleddy” problem with moderates I think!
A few things that I’d like to say here:
What is the function of a sena? Debate? Obviously not. Then why are they being given an ear to?
I’ve said this here as well & I’m saying it again. One thing that these jokers don’t realise is that their protests are in vain. They’ve blown this thing out of proportion. Ashutosh is suddenly on prime-time television, talking about his movie. He’s not spending a rupee on promoting it on movie & music channels. Instead he’s part of a panel discussion to discuss his movie! WOW! The added curiosity will send more people to the cinemas. Despite the movie playing only 3 shows instead of 4, despite it not being shown in Rajasthan & now in MP (both despicable BJP states), the movie has made almost the same amount of money as the other box-office winner. Add two more states & it will easily overtake that crappy piece of film-making!
Instead, if they’d protested quietly, like the Opus Dei did to The Da Vinci Code, people wouldn’t have branded them as barbarians & would’ve heard their voice. The Opus Dei, after the movie had run it’s course, was quietly featured in the Indian Express & all doubts were dispelled about it’s beliefs. No harm done to them. But like I’ve said before, the Christian community in India is the model of good behaviour. Now I’ll be called everything from a “pseudo” (UTTERLY LAUGHABLE TERM, NEED A NEW NAME!) to a missionary to a church-agent! :-D
Anyway, over to the awam…
Courtesy: Mutiny.in
Showing posts with label Jaipur. Show all posts
Showing posts with label Jaipur. Show all posts
Wednesday, February 27, 2008
Thursday, February 14, 2008
Dressing up Jodha and Akbar
Dressing up the stars is a piece of cake for fashion designer Neeta Lulla (right).
She has been in the film industry for two decades and won a National Award for her designs in Sanjay Leela Bhansali's Devdas.
Her latest assignment is designing for the Ashutosh Gowarikar's epic love story, Jodhaa Akbar. What makes the fashion designer's job easier is that she is no stranger to one of the stars, Aishwarya Rai Bachchan, whom Neeta has been designing for, in the last decade.
Neeta Lulla talks to Patcy N about Jodhaa-Akbar's elaborate outfits:
Though I have worked on period films like Devdas, Kisna and even a Hollywood film, One Night with the King, Jodhaa Akbar is one of the most challenging films I have ever done in the last 20 years.
One of the main reasons is because this is the first time I have designed for an entire cast -- from Hrithik Roshan and Aishwarya, to a commoner walking on the road.
What made it easier was that everything was well researched. Even then, I worked on this project for a year and half because there was very little information available about the costumes and jewellery worn during that period.
Gowarikar made things smooth. I am yet to come across a director like him who is so organised, calm and in sync with what the technicians are looking for.
I wasn't nervous while doing the film. I thrive on challenges and Jodhaa Akbar was one project that really excited me.
I designed the clothes myself. The accessories, however, were tricky so Tanishq (a leading jewellery brand) stepped in and gave me inputs. Gowarikar also gave me inputs. The accessories were made of gold, cut diamond, ruby, kundan and jade.
As the Mughal era was known for its grandiosity, we used a lot of warm tones though we were careful not to go overboard.
The costumes and accessories were quite heavy but the actors took it in their stride.
I share a great bond with Aishwarya. I have been designing for her for the last decade so I knew her likes and dislikes.
The most ornate costume I designed for Aishwarya in the film is her bridal dress as well as the one she wore for a celebration song. We chose the colour red for the bridal dress, which had a lot of embroidery. In fact, the grandness of the bridal dress was the ornate embroidery which I designed in detail and was brought to life by my artisans.
We got the fabrics from Delhi, Jaipur, Mumbai and Rajasthan.
We used a lot woven fabrics and different textures like brocades, silks and cotton. We used a lot of zardozi, kundan and stones embedded in the embroidery. We also had gotta work done on some of the costumes.
For shoes, we got authentic embroidered mojris from Rajasthan.
Hrithik found it difficult to handle so much ornate work. I don't think anyone would like to wear so much ornate stuff.
I also kept in mind the character while designing the clothes. For example, I used a lot of dark tones of brown, black and green while designing for Nikitin Dheer's negative character.
The jewellery used in Jodhaa Akbar go back to the days of age-old traditions, but with a few modifications.
People may love the accessories of those grand days when they see them in the film but at the same time wearing them in real life is not feasible. People may not be able to afford them.
Plus, more and more people are looking for comfort as well as fashion. So, what I was aiming at is a blend of both -- bringing back the grandness of those days in today's time zone.
Courtesy: Rediff.com
She has been in the film industry for two decades and won a National Award for her designs in Sanjay Leela Bhansali's Devdas.
Her latest assignment is designing for the Ashutosh Gowarikar's epic love story, Jodhaa Akbar. What makes the fashion designer's job easier is that she is no stranger to one of the stars, Aishwarya Rai Bachchan, whom Neeta has been designing for, in the last decade.
Neeta Lulla talks to Patcy N about Jodhaa-Akbar's elaborate outfits:
Though I have worked on period films like Devdas, Kisna and even a Hollywood film, One Night with the King, Jodhaa Akbar is one of the most challenging films I have ever done in the last 20 years.
One of the main reasons is because this is the first time I have designed for an entire cast -- from Hrithik Roshan and Aishwarya, to a commoner walking on the road.
What made it easier was that everything was well researched. Even then, I worked on this project for a year and half because there was very little information available about the costumes and jewellery worn during that period.
Gowarikar made things smooth. I am yet to come across a director like him who is so organised, calm and in sync with what the technicians are looking for.
I wasn't nervous while doing the film. I thrive on challenges and Jodhaa Akbar was one project that really excited me.
I designed the clothes myself. The accessories, however, were tricky so Tanishq (a leading jewellery brand) stepped in and gave me inputs. Gowarikar also gave me inputs. The accessories were made of gold, cut diamond, ruby, kundan and jade.
As the Mughal era was known for its grandiosity, we used a lot of warm tones though we were careful not to go overboard.
The costumes and accessories were quite heavy but the actors took it in their stride.
I share a great bond with Aishwarya. I have been designing for her for the last decade so I knew her likes and dislikes.
The most ornate costume I designed for Aishwarya in the film is her bridal dress as well as the one she wore for a celebration song. We chose the colour red for the bridal dress, which had a lot of embroidery. In fact, the grandness of the bridal dress was the ornate embroidery which I designed in detail and was brought to life by my artisans.
We got the fabrics from Delhi, Jaipur, Mumbai and Rajasthan.
We used a lot woven fabrics and different textures like brocades, silks and cotton. We used a lot of zardozi, kundan and stones embedded in the embroidery. We also had gotta work done on some of the costumes.
For shoes, we got authentic embroidered mojris from Rajasthan.
Hrithik found it difficult to handle so much ornate work. I don't think anyone would like to wear so much ornate stuff.
I also kept in mind the character while designing the clothes. For example, I used a lot of dark tones of brown, black and green while designing for Nikitin Dheer's negative character.
The jewellery used in Jodhaa Akbar go back to the days of age-old traditions, but with a few modifications.
People may love the accessories of those grand days when they see them in the film but at the same time wearing them in real life is not feasible. People may not be able to afford them.
Plus, more and more people are looking for comfort as well as fashion. So, what I was aiming at is a blend of both -- bringing back the grandness of those days in today's time zone.
Courtesy: Rediff.com
Sunday, February 10, 2008
Hopeful Gowarikar has a lot riding on Mughal-era epic
In this digital age, few challenges are as daunting as making an authentic historical romance that will work its magic at the box office.
The last person to try it, Akbar Khan, learnt that to his detriment two years ago with Taj Mahal. The following year JP Dutta’s version of Umrao Jaan bit the dust, and in recent times the only title to gain acceptance was the remastered version of K Asif’s Mughal-e-Azam, a 1960 original that was re-released in 2004 and took many by surprise.
It’s worth remembering that Asif needed 10 years to make that career-defining film. So, has Ashutosh Gowarikar, who took just over a year to complete his magnum opus, been over-ambitious or will Friday’s release, Jodhaa Akbar, buck the trend?
If early indications are anything to go by, the director of Lagaan and Swades has positioned himself to do what no one else has done with any measure of authority for well over three decades — since HS Rawail’s 1974 release Laila Majnu — and that is to resuscitate the genre.
The lead pair, Hrithik Roshan and Aishwarya Rai, are as good as they get. Gowarikar says he had joked with them that they would only have to pitch up on set, as they were “the reincarnation of Akbar and Jodhaa”.
The fact that they clicked in Dhoom 2 played no part in his decision to cast them. His mind was made up five years ago when scriptwriter Haider Ali broached the subject. Convincing them was a breeze: all he said to Aish was, “You’ll be my Jodhaa,” and she leapt at the chance; as for Hrithik, Gowarikar told him, “16th century, the Mughals and Akbar,” and that was that.
Besides the dashing lead pair, Gowarikar had other factors in his favour, including AR Rahman’s music score.
Four choreographers, Raju Khan, Ash Kumar, Chinni Prakash and Rekha Prakash, were enlisted for the dance sequences. The latter pair took 15 days to complete one song, the stunning Azeem O’Shaan Shahenshah, in which 1000 dancers in traditional costumes and wielding swords and shields took part.
Add Kiran Deohan’s cinematography and Nitin Desai’s sets, and the opulence so essential to a period piece is certainly in place. Attention was paid to the tiniest details. Top designer Neeta Lulla said the challenge of designing the costumes was “too good to refuse”, and specialist jeweller Tanish was appointed to craft specific pieces.
The movie focuses on a relationship that supposedly altered the course of history. It delves into the political conspiracies of the period and tells of the alliance between the Mughal emperor Jallaludin Mohammed Akbar and Rajput princess Jodhaa. Gowarikar des- cribes it as “a perfect arranged marriage”.
Akbar’s proposal was based not so much on his affection for her but on a desire to expand his empire eastward from Afghanistan to the Bay of Bengal, and south from the Himalayas to the Godhavari River. Love developed later.
His strategy to achieve this expansion was to win over the Rajputs, and this marriage with a motive helped him to remove the bitterness and distrust the native Hindus felt towards the invading Mughals, and that, in turn, softened the Mughals’ attitude towards them.
This led to Akbar establishing deen-e-elahi, or the divine faith, to reconcile the sectarian differences that divided his subjects by suggesting that no single reli- gion had a monopoly on the truth.
Jodhaa was not merely a pretty wallflower. A fiery Rajput who was skilled in the art of sword-fighting, she wasn’t an easy conquest and she refused to be a political pawn in Akbar’s designs to capture her land.
Gowarikar enlisted scholars and historians from New Delhi, Aligarh, Lucknow, Agra and Jaipur to scrutinise the script, and while he has acknowledged exercising a measure of creative licence, that did not prevent his detractors from voicing their objections.
The Rajput Sabha demanded the right to approve his script, fearing gross distortions. The Sabha contends that Gowarikar is wrong in stating that Jodhaa Bai was the daughter of the ruler of Amer, Bharmal, since historical records show only one Jodhaa Bai, who was the daughter of the ruler of Marwar, Udai Singh, and who was married to Akbar’s son, Jahangir.
The director hopes he’ll get away with it by suggesting that his story is about a chapter that “may” have been a part of history but was not officially recorded.
He maintains there is enough evidence to show that Akbar the Great had a very special attachment to Jodhaa Bai and that the period referred to was when they were between the ages of 18 and 26, and was therefore not documented.
There have been other problems for Gowarikar. An animal anti-cruelty organisation has questioned whether he had the necessary permits to shoot scenes with elephants, camels and horses.
Shooting at some of India’s famous monuments proved another hurdle. India’s Archaeological Society, which maintains these landmarks, imposed so many conditions that Gowarikar had to get his art director, Nitin Desai, to re-create attractions like the palace of Fatehpur Sikri and the Red Fort in Karjat on the outskirts of Mumbai.
Courtesy: Thetimes.co.za
The last person to try it, Akbar Khan, learnt that to his detriment two years ago with Taj Mahal. The following year JP Dutta’s version of Umrao Jaan bit the dust, and in recent times the only title to gain acceptance was the remastered version of K Asif’s Mughal-e-Azam, a 1960 original that was re-released in 2004 and took many by surprise.
It’s worth remembering that Asif needed 10 years to make that career-defining film. So, has Ashutosh Gowarikar, who took just over a year to complete his magnum opus, been over-ambitious or will Friday’s release, Jodhaa Akbar, buck the trend?
If early indications are anything to go by, the director of Lagaan and Swades has positioned himself to do what no one else has done with any measure of authority for well over three decades — since HS Rawail’s 1974 release Laila Majnu — and that is to resuscitate the genre.
The lead pair, Hrithik Roshan and Aishwarya Rai, are as good as they get. Gowarikar says he had joked with them that they would only have to pitch up on set, as they were “the reincarnation of Akbar and Jodhaa”.
The fact that they clicked in Dhoom 2 played no part in his decision to cast them. His mind was made up five years ago when scriptwriter Haider Ali broached the subject. Convincing them was a breeze: all he said to Aish was, “You’ll be my Jodhaa,” and she leapt at the chance; as for Hrithik, Gowarikar told him, “16th century, the Mughals and Akbar,” and that was that.
Besides the dashing lead pair, Gowarikar had other factors in his favour, including AR Rahman’s music score.
Four choreographers, Raju Khan, Ash Kumar, Chinni Prakash and Rekha Prakash, were enlisted for the dance sequences. The latter pair took 15 days to complete one song, the stunning Azeem O’Shaan Shahenshah, in which 1000 dancers in traditional costumes and wielding swords and shields took part.
Add Kiran Deohan’s cinematography and Nitin Desai’s sets, and the opulence so essential to a period piece is certainly in place. Attention was paid to the tiniest details. Top designer Neeta Lulla said the challenge of designing the costumes was “too good to refuse”, and specialist jeweller Tanish was appointed to craft specific pieces.
The movie focuses on a relationship that supposedly altered the course of history. It delves into the political conspiracies of the period and tells of the alliance between the Mughal emperor Jallaludin Mohammed Akbar and Rajput princess Jodhaa. Gowarikar des- cribes it as “a perfect arranged marriage”.
Akbar’s proposal was based not so much on his affection for her but on a desire to expand his empire eastward from Afghanistan to the Bay of Bengal, and south from the Himalayas to the Godhavari River. Love developed later.
His strategy to achieve this expansion was to win over the Rajputs, and this marriage with a motive helped him to remove the bitterness and distrust the native Hindus felt towards the invading Mughals, and that, in turn, softened the Mughals’ attitude towards them.
This led to Akbar establishing deen-e-elahi, or the divine faith, to reconcile the sectarian differences that divided his subjects by suggesting that no single reli- gion had a monopoly on the truth.
Jodhaa was not merely a pretty wallflower. A fiery Rajput who was skilled in the art of sword-fighting, she wasn’t an easy conquest and she refused to be a political pawn in Akbar’s designs to capture her land.
Gowarikar enlisted scholars and historians from New Delhi, Aligarh, Lucknow, Agra and Jaipur to scrutinise the script, and while he has acknowledged exercising a measure of creative licence, that did not prevent his detractors from voicing their objections.
The Rajput Sabha demanded the right to approve his script, fearing gross distortions. The Sabha contends that Gowarikar is wrong in stating that Jodhaa Bai was the daughter of the ruler of Amer, Bharmal, since historical records show only one Jodhaa Bai, who was the daughter of the ruler of Marwar, Udai Singh, and who was married to Akbar’s son, Jahangir.
The director hopes he’ll get away with it by suggesting that his story is about a chapter that “may” have been a part of history but was not officially recorded.
He maintains there is enough evidence to show that Akbar the Great had a very special attachment to Jodhaa Bai and that the period referred to was when they were between the ages of 18 and 26, and was therefore not documented.
There have been other problems for Gowarikar. An animal anti-cruelty organisation has questioned whether he had the necessary permits to shoot scenes with elephants, camels and horses.
Shooting at some of India’s famous monuments proved another hurdle. India’s Archaeological Society, which maintains these landmarks, imposed so many conditions that Gowarikar had to get his art director, Nitin Desai, to re-create attractions like the palace of Fatehpur Sikri and the Red Fort in Karjat on the outskirts of Mumbai.
Courtesy: Thetimes.co.za
Wednesday, February 06, 2008
Protests against Jodhaa Akbar in Rajasthan
Activists belonging to an outfit calling itself the Sri Rajput Karni Sena have protested against the screening of Jodhaa Akbar in Rajasthan.
"We shall not allow the filmmaker to distort history," said Lokendra Singh Kalvi, a leader of the outfit, at a press conference in New Delhi on Tuesday.
According to him, none of Mughal emperor Akbar's 34 wives were named Jodhabai. Akbar married the former maharaja of Ajmer, Bharmal's elder daughter Karkbai alias Heer Kumar in Fatehpur Sikri on Feburary 6, 1562. Prince Salim was born in 1569.
"Jodhabai was the daughter of Moteraja Udai Singh and she would have been three years younger than Salim and hence, in no way could she have been his mother," Kalvi claimed.
According to these organisations, Jodha was the daughter of Udai Singh of Marwar and was married to Salim, Akbar's son.
"Thus, she was Akbar's daughter-in-law. So, depicting Jodha as Akbar's wife is not tolerable," Karni said.
He claimed that he had met Union Minister for Information and Broadcasting Priyarajan Das Munsi and the latter had assured him that the film would not be allowed to be released.
He also claimed five historians had worked on the subject and had come up with well researched documents that prove the film historically incorrect. Ain-e-Akbari (page 619), Akbarnama (page 212) and a National Council of Educational Research and Training's Class XI history book on medieval India by Professor Satish Chandra are amongst the books that were consulted by the experts, he said.
"The Rajasthan high court has passed an order and if necessary, we shall go to the Supreme Court of India and seek a ban. In any case, the producers are losing money on the Rajasthan territory where they have not been able to release their music. We will not allow Jodhaa Akbar to be screened in Rajasthan," Karni said.
He could not give us the names of the historians or produce the high court papers when the media asked him for a copy.
"I will send you copies of the CDs to reporters in Delhi," he said.
Rajput activists also burnt posters of Jodhaa Akbar in Rajasthan. At least 100 activists gathered outside the Rambagh Palace hotel in Jaipur -- where the Bachchans are celebrating Abhishek's birthday -- and shouted slogans against Aishwarya [Images] for playing the role of Jodhabai in the film, as well as against director Ashutosh Gowarikar.
Slogans like 'Jodha Akbar nahin chalega, band karo Jodha Akbar' and 'Amitabh (Bachchan) Aish ko samjhao, Aish ko Jodha mat banao' filled the air as the protestors burnt posters of the big budget film that also stars Hrithik Roshan [Images].
Kalvi said the protest was a symbolic one, since Amitabh was ill.
Jodhaa Akbar has faced heavy weather right from the time the crew landed on the outskirts of Jaipur in 2006, with the Rajputs saying it was historically incorrect and animal rights activists accusing Gowarikar of being cruel to horses used in some sequences.
Courtesy: Rediff.com
"We shall not allow the filmmaker to distort history," said Lokendra Singh Kalvi, a leader of the outfit, at a press conference in New Delhi on Tuesday.
According to him, none of Mughal emperor Akbar's 34 wives were named Jodhabai. Akbar married the former maharaja of Ajmer, Bharmal's elder daughter Karkbai alias Heer Kumar in Fatehpur Sikri on Feburary 6, 1562. Prince Salim was born in 1569.
"Jodhabai was the daughter of Moteraja Udai Singh and she would have been three years younger than Salim and hence, in no way could she have been his mother," Kalvi claimed.
According to these organisations, Jodha was the daughter of Udai Singh of Marwar and was married to Salim, Akbar's son.
"Thus, she was Akbar's daughter-in-law. So, depicting Jodha as Akbar's wife is not tolerable," Karni said.
He claimed that he had met Union Minister for Information and Broadcasting Priyarajan Das Munsi and the latter had assured him that the film would not be allowed to be released.
He also claimed five historians had worked on the subject and had come up with well researched documents that prove the film historically incorrect. Ain-e-Akbari (page 619), Akbarnama (page 212) and a National Council of Educational Research and Training's Class XI history book on medieval India by Professor Satish Chandra are amongst the books that were consulted by the experts, he said.
"The Rajasthan high court has passed an order and if necessary, we shall go to the Supreme Court of India and seek a ban. In any case, the producers are losing money on the Rajasthan territory where they have not been able to release their music. We will not allow Jodhaa Akbar to be screened in Rajasthan," Karni said.
He could not give us the names of the historians or produce the high court papers when the media asked him for a copy.
"I will send you copies of the CDs to reporters in Delhi," he said.
Rajput activists also burnt posters of Jodhaa Akbar in Rajasthan. At least 100 activists gathered outside the Rambagh Palace hotel in Jaipur -- where the Bachchans are celebrating Abhishek's birthday -- and shouted slogans against Aishwarya [Images] for playing the role of Jodhabai in the film, as well as against director Ashutosh Gowarikar.
Slogans like 'Jodha Akbar nahin chalega, band karo Jodha Akbar' and 'Amitabh (Bachchan) Aish ko samjhao, Aish ko Jodha mat banao' filled the air as the protestors burnt posters of the big budget film that also stars Hrithik Roshan [Images].
Kalvi said the protest was a symbolic one, since Amitabh was ill.
Jodhaa Akbar has faced heavy weather right from the time the crew landed on the outskirts of Jaipur in 2006, with the Rajputs saying it was historically incorrect and animal rights activists accusing Gowarikar of being cruel to horses used in some sequences.
Courtesy: Rediff.com
Wednesday, January 23, 2008
'Jodhaa Akbar' may run into trouble
Ashutosh Gowarikar 's Jodhaa Akbar , starring Aishwarya Rai and Hrithik Roshan in the title roles is attracting attention from unwanted quarters.
The leaders of Rajput community in Jaipur are threatening to stall the release of 'Jodhaa Akbar' in Rajasthan alleging distortion of facts.
President of Rajput Karni Sena, Lokendra Kalvi said on Tuesday that the Sena apprehended distortion of Rajasthan's historical facts in 'Jodhaa Akbar’, which is based on Jodhpur raj gharana.
The Karni Sena would watch the movie when released, and if required it would not allow it’s screening in the state, Kalvi said.
Earlier, the Rajput Mahasabha had also alleged misinterpretation of historical facts.
They maintained that Jodha was Jehangir's wife and not Akbar's as shown in K Asif's 'Mughal-E-Azam' earlier and now in 'Jodhaa Akbar'.
The Society for Prevention of Cruelty to Animals, a body registered with the Animal Welfare Board of India, had also issued a letter to Gowarikar asking him if had the required permission for using animals in his film.
Over 80 elephants, 100 horses and 55 camels were used in the movie, which has been made at a whopping budget of Rs.400 million.
Touted as one of the biggest releases of this year, 'Jodhaa Akbar' spins a yarn around a glorious chapter of the Mughal era.
Expectations are high since the epic romance is the third big film to come from the Gowarikar stable after the much-acclaimed Lagaan and Swades .
With Hrithik and Ash coming together again after Dhoom 2 , 'Jodhaa Akbar' has managed to grab headlines much before its release that is scheduled on February 15, 2008.
Courtesy: Apunkachoice.com
The leaders of Rajput community in Jaipur are threatening to stall the release of 'Jodhaa Akbar' in Rajasthan alleging distortion of facts.
President of Rajput Karni Sena, Lokendra Kalvi said on Tuesday that the Sena apprehended distortion of Rajasthan's historical facts in 'Jodhaa Akbar’, which is based on Jodhpur raj gharana.
The Karni Sena would watch the movie when released, and if required it would not allow it’s screening in the state, Kalvi said.
Earlier, the Rajput Mahasabha had also alleged misinterpretation of historical facts.
They maintained that Jodha was Jehangir's wife and not Akbar's as shown in K Asif's 'Mughal-E-Azam' earlier and now in 'Jodhaa Akbar'.
The Society for Prevention of Cruelty to Animals, a body registered with the Animal Welfare Board of India, had also issued a letter to Gowarikar asking him if had the required permission for using animals in his film.
Over 80 elephants, 100 horses and 55 camels were used in the movie, which has been made at a whopping budget of Rs.400 million.
Touted as one of the biggest releases of this year, 'Jodhaa Akbar' spins a yarn around a glorious chapter of the Mughal era.
Expectations are high since the epic romance is the third big film to come from the Gowarikar stable after the much-acclaimed Lagaan and Swades .
With Hrithik and Ash coming together again after Dhoom 2 , 'Jodhaa Akbar' has managed to grab headlines much before its release that is scheduled on February 15, 2008.
Courtesy: Apunkachoice.com
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