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It has been chronicled in the Geeta that Eklavya wanted to be Sage Dronacharya's disciple in order to excel at bow and arrow shooting, but was refused because of his low caste. He decided to teach himself, and did excel to such an extent that Dronacharya felt threatened that he would beat his ace disciple, Arjun, so he asked Eklavya for his fee - his right thumb, which Eklavya dutifully cut off and presented it to his Guru. Now in modern India, Nishab, whose father was Eklavya, who gave his life trying to protect his master, has now been re-named Eklavya himself, and has been entrusted to guard the lives of Rana Jaywardhan, Ranimaa Suhasinidevi, and their children, Harsh and Nandini, will be called upon to pay the ultimate price, after he learns that his master, the Rana, has been killed. Eklavya, who also carries a dark family secret, slays the two assailants of the Rana, but then in the process also finds out that th! e one who hired them is his very own son. What will prevail - ... Written by
It was decided, early in production, to shoot the film in an actual palace for authenticity. Scouts were sent and went all over the state of Rajasthan with a tooth-comb to find the perfect location, but finally Vidhu Vinod Chopra, while skimming through a travel magazine, discovered a small picture of a fort in the hills of Devigarh. The fort, now a popular Heritage hotel, was perfect for exterior shots, but was obviously unsuitable for interior shots (as well as the obvious problems of guests, the interiors were modern-looking). So, scouting was undertaken again, but this time over the city of Jaipur. They were finally allowed to shoot interior scenes within the living quarters of the Jaipur Royal Family, thanks to costume designer Prince Raghavendra Rathore. Eklavya's cottage was the only set constructed from scratch. It was so well created that the hotel's guests and visitors assumed it to be a part of the hotel. See more »
Vidhu Vinod Chopra has always been the master stylist...repertoire is full of cinematic brilliance...whether it was Parinda where he showcased a underworld gangster with haunting memories...or 1947 a love story..a power house packed romantic film in the backdrop of Quit India movement...or it was Mission Kashmir where estranged son and father fought and valley burnt in their anguish...his narration has always been packed with a grip, sheer brilliance of dialog delivery, daunting back score music and use of lights and camera angles which reminds you of Guru Dutt's work...no doubt Vidhu has his traits in all his protégé, be it Sanjay Leela Bhansali, Hirani or Pardeep Sarkar... so when one hears it took him five years to pen the screenplay of Eklavya, the expectations had to be high.
But then Eklavya is no disappointment. a failing dynasty with frail rulers, a secret seeded deep in heart, and dilapidated royal guard trying to keep secret intact. There is heresy, treachery, pain, unrequited love all wrapped beautifully in four walls of a grandiose palace (..Heard its Maharani Gayatri Devi's. Palace).... shimmering chandeliers, royal swords, candle lit harem's...they are mesmerizing...and so are the actors who have slipped into their characters as if they are living them from ages.. Mr. Bachchan is powerhouse at its best...Saif is yet again reserved but impact full...Jackie and Jimmy are at their evil best. It's amazing to see Balan making her presence felt among all stalwarts. So does Raima impress. Sanjay is flawless in his rustic, vindictive demeanor. But its Boman with niceties of queen, which make you realize, he is one hell of an actor.
The narration is what makes it impeccably, nicely told, not a scene out of context. Good camera work during panoramic view of palace. The use of special effects adds gravity to story. It's another brilliance from master stylist and best story narrator in film industry.
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