Sab Moh-o-Mayaa Hain !

Imagine yourself on a luxury cruise, savoring every bit of the sun and the sea (the other two ‘S’-es rendered forbidden by circumstance and sheer bad management), sipping coconut water in place of pina coladas and flirting with gay abandon pretty young things in curious saffron shorts when suddenly a booming voice from the public broadcast system instructs everyone to assemble at the peeth sthal for the evening sankirtan and satsang. Unimaginable? Not any more. When Baba Ramdev, that indefatigable crusader of Yog Shakti decides to take you on a spiritual joyride on a luxury cruise liner, all the way reminding you of the sheer futility of material pursuits and wealth you can bask in that pleasant contradiction but not question its feasibility. Though the planned cruise spanning seven full days of aatmic souch (soul cleansing) and yog sadhana may set you back by a small fortune the efficacy of such a voyage can hardly be undermined in context to the times that we are living in. Hence, Star Virgo, one of Asia’s biggest cruise liners is pressed into action and off we go on a trip to our inner beings, realizing in tranquil isolation the simple truths hitherto ignored when on polluted hinterlands. [for details click here ]

The trip which is to start with a visit to the Disneyland in Hong Kong (probably Baba’s way of establishing irony by starting the trip with comic symbolism, its very essence in every way i.e) also promises to make suitable stop-overs at the major shopping joints on the way in China and Vietnam. One conjectures this to be an act of gradual re-introduction of the affluent bhakt into the reality of the material world and its mindless pursuits after a week of enforced disengagement and renunciation. It evinces the minute detailing and meticulous planning that has gone into the making of the trip itinerary. Further probing into the matter reveals greater depths of management and foresight as one comes to terms with the awesome human engineering that promises to change the spiritual landscape of India very soon. The compelling genius of marrying the concept of a luxury cruise with the pressing necessity of the urban rich to de-stress and unwind deserves all accolades and reward, fiscal or otherwise.

Ramdev clarifies,

“Those who will be traveling on the cruise belong to upper or upper middle class families. Most of them suffer from stress and I will address this problem at my yoga sessions.”

The ones who are on the threshold of confusing Baba with a new-age avatar of Robin Hood surely belong to the blasphemous lot who had previously mistaken his cultured emaciation for protracted starvation in the Kalahandi region. Ramdev is not your regular saint who insists on insipid meditation and form twisting ashanas. He is the person to have revolutionized the art of popular yoga, making kapalbhati the new craze after ‘ek pal ka jeena.... stop the traffic, show your hands’ routine and taken the TRP of Astha channel to dizzy heights by sheer force of his oratory. The lull which had set into the persona-based Indian Spiritual Industry with the relegation of Chandraswami and Jayendra Saraswati has been favorably filled by someone of the stature of Ramdev. While he transforms traditional notions of spirituality with the same deftness and acumen as Lalit Modi is transforming cricket for the average enthusiast the involved observer will be waiting in all eagerness to see how the Saviour in Saffron fares in feeding the magic potion of faith, kriya and pranayam to the masses who would rather prefer the redeemable sin of little material pursuits which goes by the name of roti, kapda aur makaan..

Jodha-Akbar - A Review

My feelings towards ‘Jodha Akbar’ was bordering on something of a pleasant confusion and a sense of dejectedness stemming out of unquenched expectations as the credits started rolling at the end of the film.

And it was this same feeling which occupied my mind as I made my way back to my home after coming out of the theater. A film which promised to deliver a cinematic spectacle of epic proportions had failed to deliver on its brief but, not without some consolation. The story revolves around the central theme of the blossoming of love between Jalaluddin Akbar and Jodhabai. The backdrop was provided by a mix of conspiracies, betrayals and blood-feuds that are so much part of power equations and empires from time immemorial. Only in this case there were hardly any attempts at intrigue or unpredictability in their unveiling. Akbar is portrayed as the righteous emperor coming to terms with the rigors of ruling a vast empire and facing enemies both within and beyond his dominions. Rajputana being the ‘iron fortress’ of defiance and pride poses the most formidable source of resistance to Mughal expansionist ambitions. As a strategy of alliance and appeasement Akbar marries the young princess of Amer, Jodhabai, to take a section of Rajputs in his confidence. The film tracks the graduation of feelings in Jodha starting from mild repulsion to acceptance and finally to complete submission in the Mughal emperor’s loving embrace. The sequences where little mind-games between the newly wed couple take precedence over the routine of matrimony is both absorbing and amusing. The rich decor and the overwhelming grandeur of the inside of the mahals are breathtakingly beautiful as are the scintillating spread of jewellery and costumes. The detailing of the backdrops merit accolades galore.

Hrithik Roshan as Akbar gives a good solid performance as the charismatic emperor and a passionate lover. He fits the royal-look requisite to the T and one cannot imagine anybody else in those regal robes strolling down the grand corridors of Diwan-e-Aam and Diwan-e-Khas. His delivery of chaste Urdu is flawless most of the times which does its part in lending credibility to the character. It is good if he sticks to do one 'film of substance' at a time for he is good in his role here, exuding a royal nonchalance and a princely swagger to charm his audience.

Aishwarya Rai Bachhan looks every bit the budding flower that Rajput princesses are supposed to have been. Delicate yet resolute. Passionate yet reserved. The sword-fighting scene actually takes the cake for her. She looks genuine in battle-gear though there spreads a shade of blissful serenity on her face when donning the elaborately embroidered ghagras, singing bhajans in front of her private deity.

Ashutosh Gowarikar has kept to the title of the film, devoting the lion’s share of its run-time to the ‘love-story’ amidst the bedlam of treachery and treason cooking in the background. Though one wonders if it was in fact the inspiration borrowed from Jodha’s love that compelled Akbar to ease taxes and regulations on his subjects, in the process coming out a reformed man worthy of a woman’s love and devotion. If history is so twisted to cater to the tastes of the ‘general’ audience and financers I believe there wasn’t enough evidence of ‘creative liberties’ being taken by the talented director in the film. I am sure a racy item-number here and a little outsourcing of certain parts to one Ekta Kapoor and Karan Johar would have done marvels to the prospects of the film at the box-office. With irrelevant songs in “Azeem-o-Shaan....” and “khwaja mere khwaja...” being packed in the most unceremonious manner into Mughal ceremonies one begins to feel for the poor director torn between duty and desire. Though on a personal level I liked the battle sequences which are quite grand compared to anything made before in Indian Cinema it feels just to be miserly when granting points to this film because of its sheer disregard in highlighting the policy and politics of the Akbar-era, the most remarkable aspects of the great reign and the great ruler.

If history has been dumped most listlessly for this film it will soon have some company.