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Asoka is a movie by acclaimed cinematographer and director Santosh Sivan, and it is clearly evident from his latest venture that he is about to change the celluloid world forever. The movie is an epic and the first example of International Indian cinema on a wide scale, bigger canvas and projected through the eye of a master filmmaker.

The film begins with the young Prince Asoka (Shah Rukh Khan) as a boy who watches his father accept Jainism, a peaceful religion that encourages him to toss aside his sword, which has caused much bloodshed. The young boy is intrigued by the weapon and picks up the new toy, masters it and soon learns that with the power of yielding this sword comes a great price. A warrior is born who fights many battles yet it is quickly established that this young man is very much fighting human wars, quenching a thirst for power and balancing this with his love for his family, particularly his mother. His mother renounces her son's violent ways and requests him to undergo the greatest education any person can: a journey.

On his journey as an ordinary traveller, the prince encounters friends and learns to eat peasant food with his trusty horse Pawan, who mirroring an opposite reflection to Asoka's seemingly black heart, is pure white with eyes that steal the heart of anyone who gazes into them. While exploring through a forest he meets the Princess Kaurwaki (Kareena Kapoor), whose eyes mesmerise one moment and warn off invaders in a blink. She is the embodiment of beauty and the prince introduces himself as Pawan to her, only to find there is a price on her head and she, accompanied by General Bheema (Rahul Dev) and young Prince Arya (Suraj Balaji), are on their own journey to make it alive to Kalinga where their destiny awaits them.

The journey of Asoka continues with trials and love, jealousy and betrayal, all making up cornerstones of what Prince Asoka experiences along the way. He falls flawlessly in love with Kaurwaki, and she becomes his soul and purpose of living, but destiny strikes a blow only to begin a mission born in rage and spread by blood. To reveal the rest of the movie would be taking too much from the audiences' viewing pleasure but the journey for Asoka is far from over.

A story of a traveller's travels, his education that is the journey, the loves and losses and wars and redemption all encompass this 173 minute epic that grips the viewer from the moment the camera pans down onto Asoka, as if indicating it is descending onto a mountain full of riches within, up until the deeply disturbing ending, which leaves the viewer with a ray of hope before the credits flash to announce not the end of the story but the beginning.

Santosh Sivan's camerawork and direction are par excellence, as his unique flash-technique and use of many shots to accentuate a minor detail in a scene all add together to create a cleverly woven story immortalised on film. In some sequences the camera cuts like a sword with flashes of residue left lingering both on screen and in the viewer's mind, yet in others following, he uses less shots and still manages to maintain rhythm. A film such as Asoka cannot be appreciated on a single viewing alone as upon initial contact one is simply bombarded with an onslaught of visual delights, spellbinding sounds and a story that emerges from our past but still reaches into the depths of every man's soul.

Performance wise Shah Rukh Khan is the life of the movie. His acting prowess is detailed to the fullest in emotional gut-wrenching scenes, that portray innocence, rage, peace and longing all through his demeanour and eye-language. Asoka's arrogance and clarity of his every action, coupled with the consistent river of flowing energy is evident through the actor's performance which to his credit leaves one finding the line which ends with the character and turns into actor. Asoka could not only be Shah Rukh's greatest screen incarnation, but also a clear message to international cinema of his screen presence, dedication and mastery of his art.

Kareena Kapoor, as the warrior princess who acts as sister and mother figure to Arya, a cautious then enduring lover to Asoka and emerges as someone on her own personal journey, in search of her identity and sense of belonging while juggling her duties, heart and mind in a three ring circus, Kareena gives what is by far her finest performance to date. After her innocent and natural debut in Refugee, she is finally allowed to once more realise her potential and play a character that only she could do justice to. Her look sans make up, except a few lines accentuating her eyes as the window to her soul, is as pure as the princess herself and the image of her going to get milk, fully wrapped except for her eyes is of sheer cinematic delight. Kareena has mastered the art of acting with her whole body in a short span of time and her performance in Asoka proves this. One hopes her potential is continually unlocked and her future holds many more performances and films of this calibre.

It is ironical that a film inspired by history is destined to make history itself by being the first Indian masterpiece to be shown at so many festivals, in so many countries and shown nationwide breaking into mainstream British cinema. It is certainly one of Indian cinema's finest offerings and deserves the attention it is bound to receive, missing out on this homage to true cinematic form would be like missing history. Go see it.

Fuad Omar.

Sony Entertainment's Lagaan is more an experience than a movie.

Indian actor Aamir Khan's home production is a cinematic experience which highlights Indian cinema to the hilt, while weaving a tale set in Champaner during the time of the British Empire's presence which deals with Lagaan (the tax of the land) and a village's upheaval against its oppressors.

The film revolves mainly around three characters namely Bhuvan (Aamir Khan), Gauri (debutante Gracey Singh) and Elizabeth (British actress Rachel Shelley), and deals with Bhuvan's spirited fight to defend what is his birthright, as he embroils the entire village into a magnitude of problems which inadvertently ends up being their only escape from the tyranny under which they reside. Gauri is the simple village girl who loyally stands behind the man she loves yet cannot profess her love to, while Elizabeth is the beautiful sister of the British Lieutenant and the complication who aids the village in their fight against injustice.

The first half sets the scene beautifully, explaining what Lagaan is, introducing the characters and gradually pulling the audience into this period and place, literally taking the viewer into Champaner through cinematography which highlights the locales and sets which establish the standard of living. It makes you feel for the characters, believe in the villagers and draws you into the celluloid created world, while the second presents to you their turmoil, dawns on you what is at stake and whisks you away in a tornado of emotions and rising spirits.

The opening scenes are more congruent to joining a conversation midway, as from the moment you are thrust into 1893's India, you gain footing and a sense of atmosphere, feeling at ease as the camera pans across its setting for the movie, drifting into the journey that will hold your attention for the duration of the film. Apart from familiarising the viewer with its characters, the first half also takes you back with its breathtakingly beautiful cinematography and fitting background score. The characters are established, the situation presented and relationships etched, with each scene rhythmically flowing from one to the other in a continuos motion.

The second half is less involved in justifying its characters and aims more towards culminating the scene which has been set in the first. By this time you are already a part of this world and your emotions have already been stirred, now they are put to the test as the events which will determine the entire crux of the film begin and get the viewer involved.

The romantic triangle between Bhuvan, Gauri and Elizabeth is expertly handled. The beauty of its predicament is that no one feels a loss by the end of the film, and director Ashutosh Gowariker beautifully justifies eternal love (but not necessarily requitted love) through drawing a comparison with the spiritual romance of the Hindu god Krishna and Radha. A delightfully delicately handled scene and situation gives birth to the foundation which will resolve the triangle in a manner leaving warmth in the viewer's heart.

Aamir Khan is a revelation. His acting is superb and be it the conviction and fire in his eyes, the way he draws breaths from the air of the abode he calls home or even gulps at the atrocities he witnesses, he has become Bhuvan completely. His portrayal is such that it puts you inside Bhuvan's psyche and enables the viewer to understand the character from his demeanour alone. His piercing eyes stare sharply like razor blades, cutting through the camera and leave a haunting impression on an unsuspecting audience, drawing them more and more deeper into his world.

Gracey Singh performs ably and is also an extremely graceful dancer, as particularly evident in the Radha Kaise Na Jale song. She acts with her eyes, eyebrows, nose, mouth, all of her and gives to the role of Gauri completely, giving a debut performance of high calibre.

Rachel Shelley makes her presence felt like an ethereal spirit. Apart from looking stunning she adds to whichever frame she is in with panache and style. Her crossover to Indian cinema, or indeed to this film, is delicately handled and a feat to be applauded. To light a face like Shelley's in the same frame as the villagers without making one or the other look considerably darker or awkwardly paler, is a difficult task in itself. But the cinematography, the lighting and make up is such that the characters come alive as physical presences which complement each other, as do Aamir Khan and Rachel Shelley. Her interactions with Bhuvan and the villagers are intricately handled and executed wonderfully, and her inclusion in the O Rey Chori song is poetry on screen. To make a Western character dance in Indian cinema without causing a giggle from the audience or without it appearing unnatural is also something which needs to be handled with careful thought and the result is such that this song picturisation alone will invoke discussion on how beautifully it has been shot.

Andrew Russell's boisterous character is brought to life by Paul Blackthorne, as he slides perfectly under the skin of a character that should reflect British pride and be menacing and hostile. He performs well and bounces off the supporting cast with utmost ease. The entire ensemble of supporting cast are deserved of mention, and particularly Raghuveer Yadav, who dynamically brings the character of Bhura across effectively and convincingly with edge.

A R Rahman is the composer who has scored for many Indian and South Indian films, and this time too he does not betray his reputation of being a modern day Mozart. He literally teases then grabs you with his music, first resonating your veins, then breaths and finally allowing it to explode and burst through your body like an energy force, flowing in sync with your heartbeat. It's lilting melody, fresh sound and courageous allegros mesmerise and reflect the movie's emotions and spirit of hope. The songs are very well picturised and choreography is excellent, particularly Ghanan Ghanan, O Mitwa and O Rey Chori. The bhajan O Paalanhaare is bewitchingly lit and shot, injecting a spiritual vibe as candles' flickering flames hypnotise every viewer whose eyes dance to its command.

The film belongs to Aamir and Ashutosh Gowariker all the way. Direction is superb and results in what is a true mark on Indian cinema, held together by Aamir's awe-inspiring performance.

Lagaan is about hope, courage, fighting against injustice, the human spirit and about Indians. You enter the cinema to be entertained, and leave with a piece of cinematic history being firmly etched in your heart.

Fuad Omar.