Akbar the Great starts from a very high starting point. At first glance, the complex and exquisite palace, the colorful palace mantle, the shining jewels and the gorgeous sari, plus the handsome and majestic Roshan like a Greek sculpture and the beautiful and sentimental Aishwarya's royal love, I don't think it's hard to see where it goes. But as I said in my short comment, every frame can be taken as a screen saver, but it feels extremely dull when connected together. The screenwriter is very rigid when dealing with the ups and downs of the emperor's life, as if it can perfectly sum up the changes of this era except for the characters to keep talking to each other that seems philosophical. But big brother, this is a movie, not a stage play. You have to make the scene "move" and let the characters move, so that the audience can feel the beauty of that dynamic art!
This can be compared with the "Baahubali" series produced by South India later. It is also an epic about a person. Although the Bajo series has special effects and progress bonuses, it is more for the audience to intuitively see how the old Baahubali king went from the initial kindness to the war, the pursuit of love and even the final betrayal Break, step by step, grow into a legend of flesh and blood, not a king but a king. On the other hand, Emperor Akbar almost stayed in discussing policies and telling the so-called "rule" with various courtiers who could not tell who was who in the audience's eyes. In order to show the plot of the king's benevolence and closeness to the people, a few are almost "fake and empty" as if they are just going through the motions.
Although Baahubali also has some high-level books that seem to be "bureaucratic", the screenwriter is very clever to draw a lot of details from Indian mythology to enrich the protagonist's adventure, so that the whole story finally reaches an emotional climax. In contrast to this work, the minimalist and abstract descriptions cannot make the audience feel the same way about the characters. In addition, the script is straightforward and light as water, let alone investment. But I can also understand that it is not easy to write such a story that actually happened in history, not to mention that the screenwriter has to balance the two diametrically opposite cultures of Muslims and Hinduism, and also consider the reactions of local audiences (think about it). After watching "Lady of India" many years later, it caused a lot of trouble before the filming), although it does not look good, at least the risk is the lowest.
In the end, the most impressive thing is that it can only be the Indian version of the court rhetoric of "first marriage and then love" between the male and female protagonists. This is also thanks to Roshan and Aishwarya's good looks and good chemistry. But on the other hand, there is a "double-edged sword" in making epic films in Bollywood in the north. In the end, the history is always based on personal love, or "attribution" to the big family relationship in the backyard. Mother-in-law and daughter-in-law are counted as one (the "mother-in-law" in this work is strictly a nursing mother). This is so petty. We are looking at the changes in the world and the number of heroes, not the "fire in the harem". And it's also love. Someone can take pictures of the unpredictable vicissitudes of the world. Why can't you pick out the taste of soap operas in Bollywood? There is one thing to say, the acting skills of the male and female protagonists are still good, especially Roshan, the emperor image of Gao Daquan is not easy to act, especially the script itself is inherently insufficient. I can feel that he has tried his best, and I can also feel the majesty of the king. If we change the script for him, maybe he can play better.
So after such a criticism, in addition to the love of handsome men and beauties, this film can only be seen as a service. Although I still like "Empire Double Walls", I still have to say that it gave a "bad start" to the later Bollywood blockbusters: the whole process is like a dark gold filter like a rich man. That's why I cherish those films that don't use, or don't abuse, dark gold tones. Moreover, although the Muslim court in this film is not as colorful as Rajput and other Indian sultans, it also has a lot of elegant colors. Of course, if you look closely, there are still some parts of "plastic feeling", such as some jewelry and embroidery, but the flaws are not concealed. As long as you can endure the blandness of the script, this film can be said to be a visual feast.
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