Jodha Akbar

Azeem-o-shaan shahenshah has Rahman playing with orchestral opulence truly fit for an emperor, in a fragmented, rhythm-dominated context. The most interesting part is the blend of very Indian pieces amidst grand Mughal splendor, perhaps fittingly mirroring the relative importance of the film’s two protagonists. In lamhon ke daaman mein, for most parts, is serenely beautiful and even those intermittent high points in chorus harmonize delectably with the main melody. Sonu Nigam and Madhushree’s vocals are, as usual, delightful. Javed Ali gets a cracker of a tune in Jashn-e-bahaaraa and he handles the solo responsibly – since the song literally rests on his rendition – and fabulously. Rahman seems to be enjoying himself thoroughly, singing Khwaja mere khwaja, even as he, as the composer, elevates the sufi strains expertly within a reasonably modern orchestral license. Bela Shende is spectacular in the princely, semi-Bhajan where Javed Akhtar evokes - quite interestingly - lord Krishna’s separation from his beloved, for Jodhaa’s pangs of separation from Akbar, a Mughal emperor! Truly secular and touchingly imaginative! The creative freedom Rahman and Ashutosh have sought in this soundtrack may not necessarily reflect the appropriate period in Indian history but makes up by being lavishly inventive and tremendously sweeping!