Cinemas

Asoka - a Review

By Fuad Omar.

Asoka is a movie by acclaimed cinematographer and director Santosh Sivan, and it is clearly evident from his latest venture that he is about to change the celluloid world forever. The movie is an epic and the first example of International Indian cinema on a wide scale, bigger canvas and projected through the eye of a master filmmaker.

The film begins with the young Prince Asoka (Shah Rukh Khan) as a boy who watches his father accept Jainism, a peaceful religion that encourages him to toss aside his sword, which has caused much bloodshed. The young boy is intrigued by the weapon and picks up the new toy, masters it and soon learns that with the power of yielding this sword comes a great price. A warrior is born who fights many battles yet it is quickly established that this young man is very much fighting human wars, quenching a thirst for power and balancing this with his love for his family, particularly his mother. His mother renounces her son's violent ways and requests him to undergo the greatest education any person can: a journey as a subject, not a King.

On his journey as an ordinary traveller, the prince encounters the simple people and learns to eat peasant food with his trusty horse Pawan, who mirroring an opposite reflection to Asoka's seemingly black heart, is pure white with eyes that steal the heart of anyone who gazes into them. While exploring through a forest he meets the Princess Kaurwaki (Kareena Kapoor), whose eyes mesmerise one moment and warn off invaders in a blink. She is the embodiment of beauty and the prince introduces himself as Pawan to her, only to find there is a price on her head and she, accompanied by General Bheema (Rahul Dev) and young Prince Arya (Suraj Balaji), are on their own journey to make it alive to Kalinga where their destiny awaits them.

The journey of Asoka continues with trials and love, jealousy and betrayal, all making up cornerstones of what Prince Asoka experiences along the way. He falls flawlessly in love with Kaurwaki, and she becomes his soul and purpose of living, but destiny strikes a cruel blow that leads him to begin a mission born in rage and spread by blood. To reveal the rest of the movie would be taking too much from the audiences' viewing pleasure but the journey for Asoka is far from over.

A story of a traveller's travels, his education that is the journey, the loves and losses and wars and redemption all encompass this 173 minute epic that grips the viewer from the moment the camera pans down onto Asoka, as if indicating it is descending onto a mountain full of riches within, up until the deeply disturbing ending, which leaves the viewer with a ray of hope before the credits flash to announce not the end of the story but the beginning.

Santosh Sivan's camerawork and direction are par excellence, as his unique flash-technique and use of many shots to accentuate a minor detail in a scene all add together to create a cleverly woven story immortalised on film. In some sequences the camera cuts like a sword with flashes of residue left lingering both on screen and in the viewer's mind, yet in others following, he uses less shots and still manages to maintain rhythm. His earlier work has proved his technical finesse and his penchant for stealing slices of nature be it through shooting at twilight or toying with the natural elements, and this time is no exception. In what can only be described as god-like subtle imagery, Santosh makes clear his points through once more reverting to nature as we see blood-soaked blades of grass after war and his lens commanding water ripples in more than a few scenes. Water seems to be a crucial element in this feature as it appears as a pit which is expected to swallow man's weapons of destruction, purify one's hands of the blood of another, be a natural bathing atmosphere for a princess, as well as being a hiding ground from approaching enemies and a dying man's final request in another scene. It symbolises life and death, the battleground and safe haven, and it is to Santosh's credit that once more he has pushed the limits of the frame to the maximum, allowing his spiritual side to overflow from thought to screen in the film's ethereal imagery. A film such as Asoka cannot be appreciated on a single viewing alone as upon initial contact one is simply bombarded with an onslaught of visual delights, spellbinding sounds and a story that emerges from our past but still reaches into the depths of every man's soul.

Performance wise Shah Rukh Khan is the life of the movie. His acting prowess is detailed to the fullest in emotional gut-wrenching scenes, that portray innocence, rage, peace and longing all through his demeanour and eye-language. Asoka's arrogance and clarity of his every action, coupled with the consistent river of flowing energy is evident through the actor's performance which to his credit leaves one finding the line which ends with the character and turns into actor. His dialogue delivery is impeccable and physical performance incredible, highlighted by some of the character's most intricate moves being slowed down by the camera so as one can fully appreciate the beauty of the delicately vicious fight scenes, which are choreographed immaculately. Shah Rukh Khan immerses himself within the character and takes on his every trait with perfection, be it kissing the places his mother slaps him or his royally toned voice that attempts to betray its heritage when he tries to become an ordinary man, there is no side to his performance that can be faulted. Asoka could not only be Shah Rukh's greatest screen incarnation, but also a clear message to international cinema of his screen presence, dedication and mastery of his art.

Kareena Kapoor is a revelation. Her presence in the film is clearly an integral one that greatly contributes to its magic. As the warrior princess who acts as sister and mother figure to Arya, a cautious then enduring lover to Asoka and emerges as someone on her own personal journey, in search of her identity and sense of belonging while juggling her duties, heart and mind in a three ring circus, Kareena gives what is by far her finest performance. After her innocent and natural debut in Refugee, she is finally allowed to once more realise her potential and play a character that only she could do justice to. Her look sans make up, except a few lines accentuating her eyes as the window to her soul, is as pure as the princess herself and the image of her going to get milk, fully wrapped except for her eyes is of sheer cinematic delight. Kareena has mastered the art of acting with her whole body in a short span of time and her performance in Asoka proves this. An actress worthy of this international epic is seen innocently taking pleasure from a waterfall's pearls of life, with joy reflected in her eyes, the very same eyes that spit fire in a venomous visual assault moments later and cry with anguish, seek solitude and are at the same time a fortress of strength as the movie progresses. Her performance in Asoka is spellbinding and award-worthy, it is safe to say after Refugee and Kaurwaki in Asoka, (as well as commercial successes in her other films) the actress's name is firmly etched into Indian cinema's books, as one of the finest to grace the screen. One hopes her potential is continually unlocked and her future holds many more performances and films of this calibre.

Rahul Dev as Bheema delivers a sturdy performance that takes the viewer into his mind. The role is small but monumental in the way it is assayed. The general's values, his courage and sole mission to protect his masters while repressing his affections for Kaurwaki all come across in powerful flashes whenever he is on screen. His body language, look and tone of voice all contribute towards what is a natural performance that emits a general's exuberance. After the two main characters in the film, it is this one that will live with the viewer also, as the protector who would lay his life on the line for his cause and sacrifice the truth for what he calculates as good judgement. A soldier through and through, it is again to Santosh Sivan' s credit for casting perfection in the form of Rahul Dev.

Of the supporting characters, those worthy of particular mention are Danny Denzongpa, the traveller's balance along the way and consequently friend turned disapproving spectator, the young Prince Arya in Suraj Balaji who performs as a future king to the hilt in his mannerisms, vocal arrogance and commanding physical actions, yet remains a child in his innocence and naivety. Raghuveer Yadav, Johnny Lever and Hrishita Bhatt are also ones to watch for.

The background score by Sandeep Chowta is as much a part of the story as the narration. His eloquently composed tunes orchestrate wars and bounce notes off the emotional mood and heightened sensitivity of each character. Anu Malik's music is pleasant and remains in the ambience of the movie, although the dance song Aa Tayar Hoja seems to jar with the overall period feel.

The scene where Asoka is told his destiny transcends that of an emperor is the heart of the film's message. Who's destiny transcends that of an emperor 's? The traveller's when he completes his journey. The closer one gets to realising his destiny, the more that destiny becomes his true reason for being. The ending is a rebirth and spiritual hope, that once again signifies embarking on another journey which will undoubtedly be laced with experiences that will make Asoka into the legend he has become.

It is ironical that a film inspired by history is destined to make history itself by being the first Indian masterpiece to be shown at so many festivals, in so many countries and shown nationwide breaking into mainstream British cinema. It is certainly one of Indian cinema's finest offerings and deserves the attention it is bound to receive, missing out on this homage to true cinematic form would be like missing history. Go see it.