Some Bollywood films are so good that we never really move on from them. Jodhaa Akbar (2008) starring Aishwarya Rai and Hrithik Roshan in title roles is one such movie. The film’s music, costumes, jewellery and makeup and cinematography were perfected so much that references are often drawn to them even today. Ashutosh Gowarikar has a few such gems to his name like Lagaan and Swades, but Jodhaa Akbar is a league apart in terms of directorial and cinematic excellence.
I fully admit that I am a fan of the movie and I have watched Jodhaa Abkar perhaps six times. I am mesmerized by the grandeur of it and the general aesthetic beauty of the film alongside Aishwarya Rai and Hrithik Roshan’s chemistry. But the fact stands that this movie whitewashed Jalaluddin Akbar like no ideology-driven historian ever could. Let’s focus on why it is paramount that we watch Jodhaa Akbar just a movie and not a historic document whatsoever.
First of all, Jalaluddin Akbar looked certainly nothing like Hrithik Roshan but lets admit that Ashutosh Gowarikar needed a good looking cast. However, I believe it is worth knowing that Akbar wasn’t as dashing as he was made out to be and Jodhaa’s experience of falling in love with him (if at all she did) would have been very different from what was shown in the movie. We can be very sure he wasn’t battling elephants as a hobby and coming out looking like a snack.
Here are a few misrepresents that I could gather from some basic research.
The Nature of the Marriage and Political Alliance:
The marriage between Akbar and a Rajput princess of Amber (Jaipur), often referred to as Harka Bai or Heer Kunwari, was primarily a political alliance.Raja Bharmal of Amber offered his daughter’s hand in marriage to secure his position and gain favor with the powerful Mughal empire. This was a strategic move to integrate the Rajput kingdoms into the Mughal system. The movie depicts a more romanticized beginning, suggesting a mutual respect and burgeoning love from their initial interactions. While affection may have developed over time, historical sources emphasize the political motivations behind the union. By focusing heavily on the romantic aspect from the outset, the film downplays the pragmatic and strategic nature of alliances in that era, which were crucial for maintaining power and stability.
Jodhaa Bai’s Influence and Religious Freedom:
While Akbar is documented to have implemented the policy of Sulh-i-Kul (universal peace) and religious tolerance, the extent of Jodhaa Bai’s direct influence on these policies is not definitively established by historical records. Akbar’s tolerance was a broader political strategy to unify his diverse empire. While she was undoubtedly respected as an empress, attributing his progressive religious views solely or primarily to her influence lacks concrete historical evidence. And we certainly do not know if she was allowed to establish a temple inside the Mughal palace for her God.
The movie often portrays Jodhaa Bai as a significant driving force behind Akbar’s liberal religious policies, even suggesting her direct intervention in matters of state and religious debate. This romanticizes Jodhaa Bai’s role and potentially oversimplifies the complex political and social factors that shaped Akbar’s policies. It risks attributing a modern understanding of spousal influence on political decisions to a historical context where power dynamics were different.
In fact, a simple Google search yields the result that Jodhaa’s name was later changed to Mariam-uz-Zamani; clearly indicating that she was converted to Islam. The film projects that Akbar never imposed conversion on Jodhaa and was tolerant about her religion.
Not to forget, Akbar had five wives other than Jodhaa.
The Jizya Tax and its Abolition:
The Jizya was a poll tax historically levied in some Islamic states on non-Muslim subjects. Akbar abolished the Jizya in 1564, a significant step towards religious tolerance. However, this decision was likely driven by a combination of political considerations, aiming to gain the loyalty of his non-Muslim subjects, particularly the Rajputs, and his evolving personal beliefs.
The film often links the abolition of Jizya directly to Jodhaa Bai’s influence and her distress over the tax. While her sentiments might have been a factor, attributing this major policy shift primarily to her personal appeal oversimplifies the complex political and economic calculations that likely underpinned Akbar’s decision.
Military Campaigns and Conquests:
Akbar’s reign was marked by significant military conquests and the expansion of the Mughal Empire. These campaigns often involved considerable bloodshed and subjugation of various kingdoms. While the film touches upon some military aspects, it largely focuses on the personal relationship between Akbar and Jodhaa.
The film tends to gloss over the more brutal aspects of Mughal military campaigns and focuses on Akbar’s image as a just and benevolent ruler. By downplaying the violence and impact of Mughal conquests, the film presents a somewhat sanitized version of Akbar’s reign. It risks overlooking the suffering and resistance faced by those who opposed Mughal expansion.
The Scale and Impact of Rajput Resistance:
While some Rajput rulers allied with the Mughals, there was also significant and prolonged resistance from other Rajput kingdoms, most notably Mewar under Maharana Pratap.10 These conflicts were often fierce and resulted in considerable loss of life. The film primarily focuses on the alliance with Amber and doesn’t adequately depict the scale and intensity of Rajput resistance to Mughal rule. This omission can lead to a skewed understanding of the complex relationship between the Mughals and the Rajput states, potentially underrepresenting the struggles and sacrifices of those who resisted Mughal dominance.
The Socio-Political Landscape:
The Mughal empire was a complex socio-political entity with its own hierarchies, power structures, and cultural nuances. Courtly life involved intricate protocols, and the emperor’s decisions were influenced by various factors beyond personal relationships, including advisors, nobles, and religious scholars. The film sometimes simplifies these complexities, focusing heavily on the personal dynamics within the royal family. This simplification can provide an incomplete picture of the Mughal court and the broader socio-political context of Akbar’s reign.
Jodhaa Akbar is undoubtedly a compelling cinematic experience that offers a glimpse into a historical era. However, it’s essential to recognize that it takes significant creative liberties with historical events and the portrayal of key figures. The film tends to romanticize the relationship between Akbar and Jodhaa Bai to a great extent, potentially downplaying the political motivations behind their marriage, Akbar’s true intentions, his later actions, and overemphasizing Jodhaa’s direct influence on Akbar’s policies. Furthermore, it largely overlooks the more violent aspects of Mughal expansion and the significant Rajput resistance – much like the textbooks taught in schools do.
‘Jodhaa Akbar’ serves as a captivating narrative, but its divergence from established historical accounts necessitates a critical approach from its viewers. So no matter how good the movie is, that was NOT Akbar and Jodhaa’s story, nor is it an account of the man Akbar was. Discretion is absolutely vital.
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