![]() Gowarikar's Jalal ud-din, on the other hand, is a young man of great beauty and vigour, at the peak of his powers, discovering himself and his ideals through his love, and with a life full of possibilities and greatness ahead of him. He is a tortured, faltering, fallible man - past his prime, beset with anxieties, and disillusioned at the failure of his dreams. Rushdie's Akbar muses at length on the questions of God and Man. It is this leader who thought much ahead of his times who dominates both the novel and the film - though they depict him at different stages of his life. ![]() ![]() At the heart of both is Jalal ud-din Muhammad Akbar (1542-1605), the greatest Mughal Emperor of India, who, though illiterate, was gifted with a unique syncretic vision which he tried concretising in his own lifetime, by creating a new religion of man ( Din-i-Ilahi or the ‘Divine Faith') that sought to bring people of all faiths under the same roof. ![]() Jodhaa Akbar is a lavish period drama on celluloid The Enchantress of Florence is an ‘East meets West' novel, highlighting not so much a clash of civilisations as their commonality. ![]()
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