REVIEW: AR Rahman’s music is passable.
Ever since director Ashutosh Gowariker announced his next film as being Mohenjo Daro, I became super excited. Gowariker, in my view, is one of the most innovative and visionary directors India has today, gifting audiences such wonderful films as Lagaan, Swades, Jodhaa Akbar, and Khelein Hum Jee Jaan Sey.
Barring Swades (which I view to be his best work), each of these other films had a historical background, with some cinematic liberties. Despite their long lengths, these films (except KHJJS) worked big time at the box office due to the attention to detailing of the period, performances, and tight script. Therefore, when Mohenjo Daro came into the fray, I became particularly fascinated because I knew the film had the right director for the job and would cover a period never before seen in Hindi cinema. Additionally, not much is known about that time so, from a historical angle, it would be interesting to witness that as well.
Additionally, Gowariker shared that he would be reuniting with Hrithik Roshan and musician A.R. Rahman after the stupendous Jodhaa Akbar, with new girl Pooja Hegde. Knowing Hrithik’s meticulousness when approaching a script, and his excellence in playing larger than life characters like superheroes and kings, I knew that the film would have some “it factor” that would carry it above others. Did this film on one of India’s first civilizations meet my expectations? Let’s have a look.
Mohenjo Daro tells the story of a young, innocent, yet adventurous indigo farmer Sarman (Hrithik) who lives with his aunt and uncle in the rural outskirts of Mohenjo Daro. When Sarman expresses his desire to finally go to the city for trade to be with other people his age, Sarman’s uncle Durjan (Nitish Bharadwaj) reluctantly agrees. When Sarman reaches the city, he realizes the big bad urban world of Mohenjo Daro is filled with corruption and fear, due to the tyranny of Maham (Kabir Bedi) and his son Moonja (Arunoday Singh).
When Sarman dares to fall in love with the royal priest’s daughter Chaani (Pooja Hegde) and encourages people to revolt against Mohenjo Daro’s leadership, this cascades into a battle of willpower between Sarman and Maham. Why does Maham care so much about Chaani? What is the relationship between Sarman and Maham? What is Sarman’s link to Mohenjo Daro? What is Maham’s secret? To find these details, one has to see the film.
Performance wise, Hrithik Roshan carries the film. His expressions are bang on, and he looks the part of an ancient warrior. Newcomer Pooja Hegde has a very wholesome look, but does need to work on her dialogue delivery a bit. Kabir Bedi is as usual in a villainous role, and Arunoday Singh is perfectly cast as the sleazy Moonja, with both dialogue delivery and expressions being perfect. A special shout out goes to Nitish Bharadwaj as Hrithik’s uncle Durjan. You may remember, Nitish is best known for playing the role of Krishna in B.R. Chopra’s Mahabharat in the late 80s. It was nice to see him on screen after a long time, and he performed the role very naturally and perfectly. Ditto for character actor Narendra Jha.
The music of the film is not up to A.R. Rahman’s usual quality. It is strictly passable, with the title song being of particular note in terms of picturization, showcasing various nations who traded with the city.
The cinematography is crystal clear and wonderful, while the costumes by April Ferry are simple yet have a certain subtle elegance to them. The special effects of the film represent a good attempt, but other Indian films have shown a lot better (such as Krrish 3 or Ra.One, or even Baahubali, Robot, and Makkhi).
Now to the most important aspects – editing, script, and direction. The editing works excellently in the 2nd half, which moves at breakneck speed with its twists and turns and action set pieces. However, the 1st half covering Sarman and Chaani’s love story is quite slow. Keeping in mind the tone the film eventually takes, I would have shortened the love story a little more. It does not take much to understand that these characters love each other.
In terms of the script, my only gripe comes toward how the title of the film could be misleading. Those expecting to learn new things about Mohenjo Daro will be severely disappointed. Although some insightful elements are displayed, there really is not much by way of historical context. The story is entertaining certainly, but it also reflects a plot we have seen in many a masala film over the years.
It is interesting to have it take place during the Mohenjo time, but the film should have been titled something else with Mohenjo Daro simply being a backdrop. The film would have worked even more if it was marketed like India’s “Spartacus”. Furthermore, I doubt people were as organized and sophisticated as they are shown to be in the film at that time, with chiseled and perfectly shaped bodies, spotless architecture and cleanliness, and dancing abilities. I think these are cinematic liberties too far. Gowariker’s direction, however, is perfect and you can tell that the film is sincerely made with a lot of passion. There is nothing that necessarily seems frivolous.
Really the saving grace of the movie is the 2nd half, which kept me riveted and interested. Two particular sequences stand out – Hrithik’s battle with 2 cannibals in a central arena and the entire climax. If the special effects in the climax were just a little better, it would be an amazing sequence for Hindi cinema.
Mohenjo Daro is a divisive film. On the one hand, it is disappointing not to learn too many new things about the civilization. However, as simply an epic film, it is thoroughly enjoyable. I will state that it is not Gowariker’s best work, but he keeps his reputation alive as a respectable filmmaker.
I give it a 6/10.
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