Jodha-Akbar is a motley of exceptional love,Terrific Action,Soulful music and splendid cinematography.It is one of the most uncommon films and a must see one if you want to witness something special.The film got combative stunts and it has everything to please everyone.But on the other side,the film is slow and lengthy.The first half of the film lasts more than 2 hrs yet the twists and turns will glue the audience to the cinema.Hrithik was awesome as Akbar and Aishwarya was majestic as Jodha.Direction was at the best.Ashutosh proved yet another blockbuster which falls in the same line of Lagaan and Swades.May be he need to concentrate on the duration of the film by chopping off few scenes.Jodha Akbar is basically a love story instead of calling it as a War based film.The film lacks pace and slow narration of few scenes and the frequent usage of Urdu language made the audience ambiguous and also boring.But at the other end,even though the film lasts for more than 3.30 min,it is gripping enough and very much bearable.The Director need to edit the film and make it as a 3 hrs film so that the audience will like this film even more.The huge star-cast of Hrithik-Ash playing as Akbar and Jodha might have evoked a lot of curiosity among the audience before the release but i must admit the film almost lived up to the expectations.The love part was dealt exceptionally well and it is the forte for the film.The film depicted the Legacy of Akbar.The film also shown that Akbar did lot good for Hindus. I don't feel,the film will hurt any religion sentiments.The director did an excellent job in maintaining the balance.A R Rahman's background score was very good and music is freshy.And adding to that,the picturisation of the songs is spectacular.Especially Azeem-O-Shaanshahensha,it is definitely one of the best ever pictured songs in the history of Indian Cinema.Overall, a film worth watching.

Period films, when well made are a visual treat. Right from the likes of Mughal-E-Azam till the recent Jodhaa Akbar, these flicks have the power to transport one back in time to relive those ages. What might disconcert many viewers of this genre is the excessive directorial license used by some movie makers to blur lines between fact and fiction. Nevertheless, I would still say that Jodha Akbar is a great effort and a well made film!

Based on the popular folklore, the story is about young Mughal Emperor Jalaluddin Mohammed (Hrithik) getting wedded to the princess of Amer Jodha (Aishwarya), a match arranged for political gain. But, little do both know that this marriage would spark off a fiery romance in the backdrop of young Jalal metamorphosing into an all powerful Emperor Akbar thwarting pressures from family,religious heads & administrative issues.

As such, the story neither has a beginning nor an end that any average moviegoer would look for. In fact, there is a little bit of everything. You can find romance, action including both human and animal duels, large scale wars, songs, great looking lead pair, and most importantly, the opulence and glorification of Akbar’s reign. But, it wouldn’t qualify as a documentary either, since the concept of Jodha in Akbar’s life is in itself fictitious.

The highlight however, is one man who stands out the most in the movie, Hrithik Roshan who has once again proved his star prowess. His talent and hard work is visible in every frame that he is in, be it romancing Jodha or on the battlefield. You would really believe him to be Shahenshah-E-Hindustan (Emperor of India). His shirtless scene with the sword and the sparring contest between the lead pair are extremely praiseworthy.

The Hrithik-Ash chemistry seen in Dhoom 2 has not just been continued here but has taken to a different level altogether. Aishwarya made a great choice to play a proud and defiant princess. The chemistry and the directorial genius can be seen in scenes where Akbar acknowledges his ignorance to read and write, his confusion when offered arati, the sparring and scenes when the couple have their private moments.

With a three and a half hour runtime and lots of sub-plots, Jodha Akbar at times, seems dragged. A tighter script chopping off at least half hour from the film could have helped. The songs, Jashn-E-Bahaara, Azeem-O-Shaan Shahenshah and the sufi Khwaja mere Khwaja stand out. If not a blockbuster, the movie will definitely go down in history as a well made movie. Recommended for a very patient audience only!

Ashutosh Gowariker's "Jodhaa Akbar" is the most ambitious film to emerge from Bollywood's stables in quite a while. Based on the historical alliance between India's greatest Mughal emperor and a Rajput Hindu princess, Gowariker models his film on the Shakespearean mould of palace intrigue with its collection of warring power brokers, plotting princes, distant queen mothers, bitchy but loyal eunuchs, and concubines galore. It's also something of a gamble: Gowariker has never treaded the historical epic in his earlier features, especially one about India's first attempt at religious pluralism. The results are mixed but laudable, largely because the script adheres to the golden rule about bringing historical episodes to film: know the history, but print the legend.

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 throughout—despite 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."