Hindi cinema in 2001 undoubtedly belonged to Aamir Khan because of Lagaan and Dil Chahta Hai. Apart from these two films Gadar and Kabhi Khushi Kabhie Gham made the most noise. Three films of Shah Rukh Khan released that year. His first release of the year, One Two Ka Four turned out to be a disappointment. His second release Asoka created a great buzz during its release, but I assume it did not get the love it deserved. Not even after the release like Nayak and Rehnaa Hai Terre Dil Mein. I don’t recollect the film being discussed for any reason. I recently saw Asoka for the first time. Though I enjoyed it to a large extent, I had my share of issues with it.
Asoka claimed to be the story of a man’s journey from monarch to monk. The screenplay written by Santosh Sivan and Saket Chaudhary tries to balance between authenticity and the usual fodder of the commercial cinema audience, especially the superstar’s fans. Asoka has a interesting story. Right from the fight for the throne to the complicated love life to self-realisation, everything is fascinating considering the era the film is set in. Amidst all of this, the stardom of the superstar is justified which affects the overall mood of the film. We see the hero saving the heroine from the goons, and there is also an emphasis on the famous SRK palat moment.
Danny Denzongpa mostly takes care of the humour in the film. The trio of Johnny Lever, Raghubir Yadav and Suresh Menon is also responsible for making us laugh, but their humour is mostly unpleasant. Their contribution to the development of the story helps us ignore their dislikeable humour. Leaving the comedy aside, Abbas Tyrewala has done a commendable job with the dialogues of the film. He gives us the feel of living with the characters as we watch them. The lines sound like textbooks but are easy to understand.
Shah Rukh Khan seems a little off throughout the film. He looks more like a star and nothing like the character he is playing. Despite playing such a different role, his mannerisms of a romantic hero remain intact even when he is not romancing his heroine. Kareena Kapoor is also pretty much like she is in her every other film. I enjoyed her portions where she expresses longing and takes the lead in the battle. From the writing perspective, both these characters have wholesome arcs making them equally important in the story.
Anu Malik surprised everyone with his compositions in 2001, especially with Aks and Asoka. The music of Asoka is inexplicably refreshing. It won’t be wrong to call this album immortal since it sounds as amazing as it sounded two decades back. Cinematographer-director Santosh Sivan makes the songs look gorgeous. I loved the lighting in the Aa Taiyaar Hoja song creating the appropriate mood. Roshni Se, despite being shot in a studio has a unique visual charm to it. Kareena Kapoor’s bright coloured costumes against the white rock background make Raat Ka Nasha is a visual delight. The tribal dance in O Re Kanchi is a fun experience, and the landscapes in San Sanana are breathtaking.
Santosh Sivan’s jaw-dropping visuals make Asoka worth a watch. He deconstructs the definition of grandeur by shooting most of the film in real locations and creating magic on celluloid with his camera. The camera is moving most of the time, and that’s something noteworthy. There isn’t a single frame in the film which you don’t admire and feel like doing so incessantly. His overall vision to keep the visuals as authentic as possible is evident in everything we see in the film. The costumes also look realistic. After acknowledging a superstar film kind of treatment, I would not mind a repeat viewing of this gorgeous film.
meri maaa, CINEMAAA 