Talk:Asoka (2001 film)

Criticism of film

Anon, I agree that the film is a poor depiction of Ashoka. It takes a serious subject and turns it into a cartoon. But the thing is, I don't recall reading any criticism of it on those grounds. I was just starting to read Rediff in those days (that's where I keep up on Bollywood) and I may just have missed the criticism. But we can't really say that many people criticized it if it is conceivably just you and me who thought it sucked. Surely you could find a link to some online review. Don't leave it up to me. Learn to support your opinion with a reference. Zora 01:24, 26 January 2006 (UTC)

I realize this isn't a factual depiction of Ashoka, but I have to say that in my experience you either hated this film or you loved it. Since it was the first I ever saw, that colors my view I admit, though, it still stands up for me. But why I like this film is more because; even though it is most certainly BW, it isn't just limited to the usual saccharine love story (you know the one: love match vs. arranged marriage, scheming aunt, etc...), though it does depend on the same devices under different guises. There are historical (romantic and legendary as they may be) sets, and a breathtaking battle scene that is up there with Braveheart's (which was seriously historically flawed itself) in its execution. I liked seeing the old weapons - though I don't know if they were accurate to the time. Why a nation with such a rich history, literature and tales of gandharvas and apsaras (the Ramayana serial notwithstanding), etc., doesn't try this "daring" stuff more often is a shame... but that's another discussion altogether which I'm sure has been done to death in a more subject appropriate discussion (whither the Indian LOTR's?!). Basically, I love Bollywood and all, I wouldn't have stopped trying to keep track of all the ones I've seen after my hundreth film otherwise. But give me the occassional gritty Maqbool or a movie set in the misty past, like Aśoka - movies which don't have the same ol' sappy happy ending (even if it be a sappy sad ending like Phir Milenge) - that I might cleanse my palate between all the sometimes unbearingly cheery escapism (after all, I'm not holding my breath for Hindi art-house cinema given the broader cultural context, though Amir Khan comes close sometimes). Khirad^talk 02:36, 26 January 2006 (UTC)

WikiProject class rating

This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 19:02, 28 August 2007 (UTC)

Fair use rationale for Image:Asoka.jpg

Image:Asoka.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use. Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Wikipedia:Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page. If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. BetacommandBot (talk) 18:49, 13 February 2008 (UTC)

Fair use rationale for Image:Asoka.jpg

Image:Asoka.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use. Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Wikipedia:Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page. If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. BetacommandBot (talk) 23:09, 7 March 2008 (UTC)

Merger Proposal

The Samrat Asoka is a dubbed version of this film. Quality check 10:33, 1 February 2009 (UTC)—Preceding unsigned comment added by Quality check (talk • contribs)

• Support Merge : If the film Samrat Asoka is just a dubbed version, it may be merged to Asoka (2001 film) -- Tinu Cherian - 05:18, 2 February 2009 (UTC)

Asoka (Without Sorrow), 2001, 171min, Dreamz Unlimited If you like Sparta 300 and Gladiator, you will love this movie. Writer-director Santosh Sivan set out to make this loosely historical epic young Emperor Asoka, one of the India’s greatest emperors of the Maurya Dynasty from 273 BCE to 232 BCE who ruled almost all of the Indian subcontinent and South Asia.

Though the story is largely fictional, Sivan uses actual historical figures and tells the story in the context of the events of the day. From its opening moments detailing Asoka’s trust for the sword to the sumptuous splendor of the battlefield defining the skill of Asoka’s swordsmanship, the visuals of the film Asoka are simply breathtaking. Blending an eye for detail in production design, Sivan brings the long-dead civilization back to life like no other Hindi film has done before. First and foremost, a big round of applause to not only Sivan for orchestrating this enjoyable historical jaunt and evocative cinematography, but also Manish Malhotra for the gorgeous costume design and John Kundan Pai for the beautiful production designs. Stunning ancient architecture, strategic use of curtains and lighting, and absolutely stunning garb work with the unique camera angles to bring the ancient era to light. Scholarly issues aside, this is the kind of film that defines the term ‘masterpiece’– filled with spectacle and action, and telling a story of epic scope and humanity. Asoka is an enthralling and totally immersing production that will probably be viewed as a Hindi classic paving the way to films like Jodha Akbar.

Asoka and Kaurwaki (unbeknown to her that he is indeed her love Pawan), gather their forces for the final show down confrontation known to history as the Battle of Kalinga, whose outcome decided the fate of civilization and destiny of Asoka. A man who began his life as an emperor but ended as a monk achieving what he dreamt of which is to become the greatest emperor in history, that is emperor of hearts. The reticence pays off near the end when screenwriter provides the characters with a provocative and literate debate about the nature of war.

Though many will remember the film for its violent and edge-of-your-seat battles, there is a lot of humanity found within this film, which builds up nicely to the film’s emotionally satisfying climax. Sivan chooses to devote a fair amount of time focusing on Asoka’s worrier Princess Kaurwaki, played beautifully by Kareena Kapoor. Her character is as violent, sensual, and full of intrigue her counterpart Prince Asoka. This complex love relationship between two people from rival kingdoms is expanded upon from its historical reference to portray Kaurwaki as a strong willed and passionate woman. There are few of passionate (I say not enough) moments between Asoka and Princess Kaurwaki highlighted by the music sequences tossed in to balance out the brutal and savage war scenes (not to mention a smoking-hot wet scenes of Shahrukh and Kareena) making the film worthwhile to watch.

What raises Asoka above the usual epic drama is not only the strength of its story but power of its performances. As the film’s titular worrier, Shahrukh Khan carries the story, both with his impassioned performance and commanding screen presence. He is able to project the self-assuredness, leadership, and burning rage that dominate his character. Once again, Shahrukh Khan gives a convincing performance as Asoka, carrying the charisma of a born leader. He moves through this film like a caged panther, dripping fierce masculinity and infecting every scene with relentless power and raw energy. His penetrating eyes do all the talking at every step of this movie from lust to love to anger. While Shahrukh Khan has played such diverse roles, I believe he gives a natural performance giving the character life and substance with emotions and expressions rather than portraying the character just a mean fighting machine. This film also showed to date his versatility as an actor, a role that is different than previously played of the typical formula for a commercially successful Hindi film. He poses and expressions while extremely intense and penetrating, while his acting remains authentic. This is a nice change for Sharukh from his often finesse lover-boy character we are so accustomed in seeing.

Kareena Kapoor is equally terrific as the tough fallen Princess of Kalinga. Kareena does an astonishing job of portraying the sexually insatiable Princess at many stages of dress. She is saucy and heedless at first, headstrong when she needed to be, as well as but smart, and able to learn. Her stunning portrayal of Kaurwaki, emanating both the poise and valor of her character makes her irresistibly watchable. As the protective sister and fierce worrier, she’s a lioness who’ll strike dead any potential predator who may cause harm. I absolutely adored of Kareena in this film. There are many unforgettable close-ups scenes revealing her facial expressions and body language giving the character life. The portrayal of a strong leader without an alliance with a man is indeed a rare but refreshing scene in Hindi Cinema. Her journey from fright and despair to resistance is played with considerable skill. Sivan mercilessly concentrates on her condemnation and agony with all the fervor of a fanatic. But his film would be nothing without the charismatic and emotional performance of Kareena. In fact, Sivan’s entire cast does an admirable job of bringing ancient history alive onscreen.

Mesmerizing and breathtaking, Asoka is something you have to experience for yourself. Cinematographer’s striking use of color helps to emphasize and enhance the mood of each scene, is fluid and flawless. I particularly liked the close shots. There are enough close-ups of Shahrukh Khan’s handsome muscular glory and extended shots of his beautiful eyes and mouthwatering lips. I am not sure about you, but I was devouring every close shot I could get. Sivan does evoke the response he wanted from his audience by pounding home the drama and sense of doom. The production is steeped in rich, saturated colors and emotions, your thoughts will linger for weeks to come. The texture of the film is enough to recommend it, even apart from the story.

Music Tracks: Unlike other Hindi movies you get less dance numbers but more powerful but relevant visuals Asoka 8resemble conventional music video. Although the lyrics are memorable, what is more captivating is the dance choreography, thanks to Brinda, Geeta Kapoor and renowned Farah Khan, reinforcing not only the ferociousness of a Price bringing out the natural characteristic of Shahrukh Khan himself. Shahrukh Khan is generally not known for his finesse and technicality of his dance moves. However, what Shahrukh Khan manages to do is to reveal his natural self to captivate his audience. For starters, he is built like a cheetah, nature’s perfect predator, with naturally lean athletic body and muscular powerful face. His dance style is animalistic with vigor, instinct and undeniable intensity. His pose is territorial, dominating and arrogant like a lion marking his mate. This is particularly visible in this film, holding Kaurwaki like a lion’s claw seizing his prey, possessively and passionately. In the songs “San Sanana“, he moves are like a hunter crawling skillfully stalking. His eyes are dancing with lust as if he is devouring. With his flexible spine and masculine legs, his leaps and strides charging toward his mate. Don’t even mention his eyes. He has an eye like a tiger shining down clutching his prey dancing with forest depth and poisonous concentration. His stare is undoubtedly arresting and piercing enough to mesmerize anyone who dares to stare back. His gaze in “O Re Kanchi”, is so penetrating with ferocity and intensity as if he is about to outtake. As he nozzles her neck, his nostrils enlarge to take a deep air as if he is pumping air to his lugs before snatching her neck. There is so much adrenaline in this movie as he moves like a majestic beast. The music video alone is worthy of to see Shahrukh Khan in a naturally befitting character of a savage but raw worrier. I recommend you see this movie. Additional songs are: Raat Ka Nasha, Roshne Se, Aa Tayar Ho Hoja and Asoka Theme.

Memorable Scene. The heartbreaking moment when the two lovers face off in the battle ground. The last scene of the Battle of Kalinga where Prices Kaurwaki and Asoka meet face to face and Price Aryan finally finds Pawan. Another scene is when he pleads with his mother to talk to him even threatens her out of desperation to hear her voice.Asoka 9

Overall, this is a film for the young or the restless. Noteworthy, the film does not claim to be historically accurate. If you’re one of those people who judge historical dramas on their accuracy, let that go for now and simply enjoy the drama. Put aside, this is a visually stunning, innovative epic unlike anything we’ve seen. The shots of Jabalpur, Madhya Pradesh and Konark, Orissa are breathtaking and worth a trip to visit. In this day and age, we definitely need a hero. So, if you did not see this majestic film on screen, grab the DVD and sit back and enjoy the show! http://isisbollywood.wordpress.com/category/bollywood-movie-review/ —Preceding unsigned comment added by 68.28.105.230 (talk) 03:08, 25 May 2009 (UTC)

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Sources

• Screen, music --Nicholas Michael Halim (talk) 02:58, 6 April 2021 (UTC)
• Screen, production —Nicholas Michael Halim (talk) 02:12, 2 November 2021 (UTC)

Requested move 28 February 2023

The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: Moved. (closed by non-admin page mover) Silikonz💬 23:24, 7 March 2023 (UTC)

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Aśoka (film) → Asoka (2001 film) – The accented "s" is not used in all sources. Insufficient disambiguation with Asoka (1955 film). Article was moved without discussion in 2015 - @Tassedethe: 162 etc. (talk) 22:17, 28 February 2023 (UTC)

• Support Per nom. ᴢxᴄᴠʙɴᴍ (ᴛ) 00:01, 1 March 2023 (UTC)
• Support per nomination and ᴢxᴄᴠʙɴᴍ. A diacritic is indeed insufficient on its own to disambiguate one main title header from another. —Roman Spinner (talk • contribs) 01:17, 1 March 2023 (UTC)
• Support Per nom. In ictu oculi (talk) 09:36, 1 March 2023 (UTC)
• Support per nom. -- Necrothesp (talk) 13:28, 1 March 2023 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.