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Cast & Crew | |
Cinematography & Direction | Santosh Sivan |
Executive Producer | Sanjiv Chawla |
Screenplay | Saket Chaudhary, Santosh Sivan |
Music | Anu Malik |
Lyrics | Gulzar Anand Bakshi ( san sa na nan ) |
Background Music | Sandeep Chowta |
Dialogues | Abbas Tyrewalla |
Editor | Shreekar Prasad |
Art Director | Sabu Cyril |
Action | Shyam Kaushal |
Costume Designer | Anu Vardhan, Manish Malhotra (Kareena Kapoor), Naresh Rohira ( Shah Rukh Khan ) |
Audiography | Rakesh Ranjan |
Music Arranged By | Ranjit Barot |
Publicity Visual & Designs | Himanshu, Rahul Nanda & Mushtaq Sheikh |
Associate Director | Vishnu Vardhan |
Post Production Supervisor | Vivek Sharma |
Production Controller | Ganpathi Subramanian |
Production Executive | Francis Thomas |
Script Supervisor | Divya Pande |
Visualization & Body Art | Manika Sharma |
Casting Director | Ghanteshwar T. Guru |
Chief Assistant Directors | Ghanteshwar T. Guru, Manika Sharma & Divya Pande |
Writing Poems | Vishal Punjabi |
Titles & Special Effects | Rajiv & Tarun
Agarwal (Rajtaru Videosonic Limited) |
Sound Effect Designer | Dwark Warrier |
Chief Legal Advisor | Mr. P. S. Maniar |
Chief Accountant | Blesson Oommen |
Publicity Stills | Atul Kasbekar |
Publicity Stills | Atul Kasbekar, Daboo Ratnani |
Production Managers | Milind Vereker, Kundan D. Pai & Anil Sable |
Technical Advisor & Promos Edited By | Amitabh Shukla |
Foley Recordist | Madhu Apsara |
Sound Effect Editors | Umesh Patel, Parikshit Lalwani & Sanjiv Gupta |
2nd Unit Director For The Final War | Ravi Deshpandey |
2nd Unit Cameramen | S. Krishna & Manoj |
Jimmy Jib Operator | A. Prakash Mohapatra |
Focus Pulling | Shashi |
Stills | Samir Sarkar |
Assistant Director | Adoiti Mittal |
Property Co - ordinators | Disha Rubein Dass & Karishma Gopinath |
Making of Asoka Directed by | Shimit Amin |
Shadow Puppet | Meena Nayak |
Sincere Thanks For
Their Kind Support
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Maharaja Shri Pushpraj Singh, Rewa, Madhya
Pradesh
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Rajendra Jangle, Bhopal
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Shriram
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Suhas Gujrati
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Neelab Kaul
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Rambhakta Mishra, Balangir
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Sabyasachi Mohapatra, Bhubaneswar
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Himanshu Shekhar Guru, Balangir
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Preeti Patel, Anjika, Kolkata
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Also Starring
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Queen (Susima's mother) |
Shilpa A. Mehta |
Bar Girl ( Aa Tayar Ha Ja ) | Rajlaxmi K. Roy |
Gypsy Dancer ( Raat Ka Nasha ) |
Gayathri Jayaraman |
Nandaneshwari | Shweta Menon |
Giri | Shabir Masani |
Sugrata | Viniet Sharma |
Sugidha | Vivek Sharma |
Nanny | Usha Jejrani |
Radhagupta | N. Shyam Sunder |
Pandit | C. L. Gurnani |
Kalinga Minister | Mithilesh Chaturvedi |
Kalinga Minister's goon | P. Mantu Mohapatra |
Kalinga Senate Members | Suhas Joshi, Vasant G. Thate, Manoj Lalwani, Mehmood Khan, Darshan Kumar, Yash Kumar, Yogi Singh |
Vitasoka | Madhu |
Young Asoka | Karan Dewani |
Milk Man | Jitendra Shrimali |
Milkman's Wife | Shampa |
Flower Girl | Monika Kale |
Farmers | Jitendra Shastri, Yogesh Sharma, Arun Singh, Nissar |
Village Head | Rajendra Mehra |
Karuwaki's Dupe | Anu Ansari |
Arya's Dupe | Master Hardik |
Magadh General | Anjan Ghosh |
Wise Man In The Forest | Vijay Kumar |
Assassin In The River | Arvind Iyer |
Enunch Assassin | Ashok Mapara |
Messenger | Samir Sarkar |
Thugs | Milind Vereker, S. Krishna |
Arya's Father | Balakrishna |
Ayra's Mother | Sanghamitra Jena |
Devi's Father | Bomie E. Dotiwala |
Groom | Bunty |
Groom's Father | Col. Suresh Rege |
Announcer | Chetna Motiwala |
Buddhist Monk | Bahadur |
Arya's Caretaker | Mangilal |
War Sequences
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Sunil & C. V. N. Kalari Group,
Nadakkvu, Calicut
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Ratan K. Singh & Manipur Group,
Anjika Kolkata
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Baiju & KuttanduBoat Club,
Mampuzhakary, Alleppey
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O Re Kanchi Song
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Pradeep K. Sarangi & Tendapadar,
Balangir, Orissa
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Rudramani Sahu & Dhumapali
Ghoomra Baja, Saintala, Balangir, Orissa
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Rajendra Mohapatra & Ranapa
Group, Narendra Pur, Ganjam, Orissa
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Keisham Rajomani Singh &
Manipuri Group, Anjika, Kolkata
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Tadpa Tribal Dancers, Dahanu Road, Maharashtra
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Playback Singers | Abhijeet, Alka Yagnik, Chitra, Shann, Sunidhi Chauhan & Hema Sardesai |
Processed At | Prasad Film Lab., Chennai |
Charterd Accountant | Bimal Parekh & Co. |
Bankers | The Vysya Bank, Khar, Mumbai, |
Deutsche Bank, Fort, Mumbai | |
Make Up | Ravi Indulkar ( Shah Rukh Khan ) |
Ritesh ( Kareena Kapoor ) | |
Radheshyam ( Danny Denzongpa ) |
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Vinod B. Upadhyay | |
Kareena Kapoor's Hair Dresser | Rashid Raziuddin |
Hair Dressers | Loretta, Pratibha, Jigana |
Shah Rukh Khan's Hair Dresser | Dilshad's Saloon |
Costumer | Sai Designs, Chennai |
Dress Man | Chandrakant S. Varadkar |
Office Manager | Veena Sarna |
Negative In - Charge | A Madanmohan Prasad ( Prasad Lad. ) |
Nagra | Prabhash C. Sarangi ( Khokan ) |
Boom Operator | Prakash C. Sarangi ( Kanu ) |
Additional Stills | Kamat Photo Flash |
Press & Media Publicity | Perfect Relations |
Sub Titling | Uma Da. Cunha |
Assistants
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Music | Bipin Panchal |
Choreography | Richie |
Art | Sunil Baboo, Manoj Patil, Abdul, Chandra |
Action | Pandu, Pali, Hira, Pammi |
Acounts | Neel Doctor, Abhijeet Ubale |
Production | P. Sunder |
Editing | Sanjay Sharma, Sheikh, Idris |
Sound | Salim Shaikh, Jahangir Husain |
Make Up | Shivaji Jadhav, Bala |
Office | Mitchell, Julie Frank |
Camera Attendants | Dilip Patil, Anwar Ansari, Rajesh Bajpal, Mukesh Martin, Sushil, Ashok |
Jimmy Jib Attendants | Suresh Shetty, Arif Sheikh, Partha |
Dress Man | Sanjay, Venkatesh, M. Babu. S. Babu |
End Titles | Praful Katdare |
Foley Artistes | Karnail Singh, Sajan Chowdhary, R. Gupta, Vikram Viswas |
Light Boys | Shaji, Kumar |
Artiste Spot Boys | Subhash Jain ( Shah Rukh Khan ) |
Prakash ( Kareena Kapoor ) |
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Charan (Danny Denzongpa) | |
Spot Boys | Ashok, Kumar, Bahadur, Salim, Ramesh, Haji |
Office Boys | Puran Bahadur, Raju, Vishnu, Sakharam |
Original Weapons In - Charge | Dr. Hamid Ali Quazi |
Junior Artistes & Model Suppliers | Pappu Lekhraj & Company Kasber Dance Academy, Thane |
Molley & Abbas, Options Unlimited | |
Mona Irani, Corrine | |
Post Production | Audeus, Prasad Studio |
Songs Recorded At | Sahara Studio, B.R. Digital Spectral Harmony |
Food Supplier | Star Cine Caterers |
Horse Supplier | Verma & Co. |
Indoor Shooting At | Film City, Filmistan Studio, R.K. Studio, Mehboob Studio |
Outdoor Shooting | Pachmarhi |
Maheshwar Jabalpur, Madhya Pradesh | |
Konark & Bhubaneshwar, Orissa | |
Igat Puri, Maharashtra | |
Samod, Rajasthan | |
Alleppey, Kerala | |
Set Material Suppliers | Agarwal Traders |
Art House | |
Mapa Planks | |
Evergreen Decorators | |
Indian Timber & Plywood Centre | |
Laxmi Glass House | |
Equipment Suppliers | Lumiere Lights, Mukta Arts, Jenny Cine Equipments, Status Trading, Yashraj Films, Film Kraft, Anand Cine Service, Dimple Cine Equipments, Discovery Disco & Video Equipments, Brite Trans Power, M.R. Vanities, Movie Action Dummy Effects |
Costume Suppliers | H.J. Dresswala, Profesional Hair Product |
Insurance | United India Insurance Co. Ltd. |
Travels | Rose Travels |
Manoj Car Hire | |
Dolphine International, Chennai | |
Sandhu Roadways | |
Asoka The Book | Mushtaq Shiekh |
Website | VAIDS Technologies Pvt. Ltd. |
Images For Book | Samir Sarkar |
However, even though Asoka is not a regular conventional Indian movie, it is very much rich in Indian culture, music, costumes, history and the world famous Indian traits of story telling.
It has been a lifelong dream to work with Santosh Sivan. To me, he is nothing short of a genius when it comes to filmmaking. Asoka would be incomplete without Kaurwaki just as Kareena would be incomplete without Asoka.
It was not playing a legend that lived 2,400 years ago, but the director had his vision of Kaurwaki very clear in his mind, and only he could make me see what Kaurwaki would have been like.
Asoka to me was a challenge. A challenge to perform in a movie, which is built on probably the oldest subject in Indian cinema.
His is a journey of an ambitious king, who fought the bloody war of
Kalinga.
On the battlefield he stood amidst conquered corpses and his realization
that a true conquest was by conquering hearts of people led him to spread
Buddhism and it's message of love and compassion across the world.
'Asoka', the film attempts to portray Asoka's personal transition from an ambitious prince to a lover, a conqueror and finally a messenger of peace, a changing mind like the change of seasons.
The legends of Asoka are dramatized and presented in a traditional Indian form of storytelling.
Santosh Sivan
When we first met up with Kareena to discuss her 'look' for 'Asoka', I
was struggling with the idea of making her look exotic and different, how to
enhance the facial features especially the eyes and so on. Santosh had
clearly expressed that he wanted no make up at all for any of the women
characters in his film. He had also mentioned that he wanted a lot of body
art in the film. He had even handed me some 'tattoo kits', which he had
picked up during his trips abroad, only a few months before we embarked on 'Asoka'.
This posed a challenge because tattoos had already become a craze in the
West. So much so that a mere mention of the word 'tattoo' instantly brings
to mind loud images of an obsessive subculture.
I began reading up information on websites as well as some history texts,
which talked about the Mauryan Dynasty and the social structure prevalent at
the time. At around that time i.e. 274 - 232 BC, the period of Asoka's reign
and even in the years prior to that, from the time of Emperor Chandragupta's
reign, there was strong influence of Egyptian and Greek civilizations in
India. This was especially so in the arena of fashion, the style of dressing
and also cosmetics, the use of colors to enhance the facial features. The
way the Egyptian queens painted their lips and cuticles red and also used
bright colors (blue, green, yellow and gold powder) for their eye lids, the
concept of 'eye shadow' perhaps came from there. Although not completely but
this trend had reached India through trade and travel, which was at it's
height in the Magadhan Empire. In some texts, there is also mention of
import of make up, cosmetics from as far as Egypt.
The queens also had elaborate body art in these times. In prominent
historian Romila Thapar's book there is also mention of an interesting
detail. The queens wore 'heels' and this was a purely Greek / Roman
influence.
There was yet another challenge, if there was to be body art incorporated
in the film then it would have to be carefully thought out. For instance any
design drawn on the body would have to look very 'period', with no lines,
shapes or forms that were remotely modern. This was both interesting and
tough. I began experimenting with lines and shapes and came up with designs
that looked 'period' and not modern in any way. The most interesting and yet
simple is the design which I drew on the corners of Kareena's eyes. Since
she has green brown eyes, and the design is with black, this made them look
even more stark. It also makes her eyes look larger and more prominent as
compared to the other features on her face.
During the first schedule in 'Panchmarhi', M.P., I was apprehensive about
the body art. Santosh had mentioned how he wanted it subtle and not too
overpowering. For this reason I confines the art to the space just below the
collar-bone, on the outside arm and the eyes. Occasionally he would ask for
a navel drawing or a more elaborate design.
The body art gave the costume an exotic detail and made Kareena look
beautifully unique. Santosh then wanted the body art really elaborate in
songs such as 'Roshni Se'.
Gradually it became an essential detail of the look of some of the more
prominent characters in the film. For instance, 'Bheema' (Rahul Dev) with
the sun emblem on his arm, the spade and snake design on 'Giri's'
(Shabbir's) forehead, which made him look more evil.
Eye make up also comprised of painting black kohl both on the inside and the
outside of the eye, forming a sort of thick rim. The paintings and rare
visual references of the time depict the dramatic emphasizing of the women's
eyes. The eyes were undoubtedly the most prominently highlighted feature
among the women in those times.
This detail makes Kareena look very exotic and Indian. The concept of no
make up (foundation or lipstick) works very well with Kareena, as she has a
lot of natural contrast on her face.
Overall there is no make up for any of the women characters in the film.
Rather than make up, we have attempted to use detailing on the face such as
the use of red and black powder for 'tilak', which is more ethnic and
Indian.
Shah Rukh Khan is among the few actors who have managed to combine mass with
an artiste's passion for creativity and experimentation. An intense
performer Shah Rukh today rules world's biggest film industry - Bollywood
with his visceral performance ranging from a love-obsessed fanatic to the
quintessential romantic hero. His Dilwale Dulhaniya Le Jayenge recently
became the longest running Hindi film ever. Shah Rukh's passion for film is
not restricted to acting. He understands the true potential of the cinematic
medium and its importance in shaping reality. Armed with this belief, Shah
Rukh is already an active catalyst in the growth of Indian film industry. A
versatile acto, a mega star, an astute businessman, a visionary-Shah Rukh
Khan dares to dream...unlimited !
Juhi Chawla
Former Miss India Juhi Chawla is one of India's most adored film actresses.
Her debut film Qayamat Se Qayamat Tak brought back the trend of gossamer
romance to Indian screen. Since then she has gone from strength to strength
enthralling the audience with her spunky performance. She has the perennial
Indian girl-next-door image which has endure and endeared over the years.
Juhi's objective to be an active participant in movie making is manifest
from her recent foray into production. She has balance her effervescent
on-screen persona by lending her special involvement in every aspect of film
production and planning.
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