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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
Maharaja Shri Pushpraj Singh, Rewa, Madhya Pradesh
Rajendra Jangle, Bhopal
Suhas Gujrati
Neelab Kaul
Rambhakta Mishra, Balangir
Sabyasachi Mohapatra, Bhubaneswar
Himanshu Shekhar Guru, Balangir
Preeti Patel, Anjika, Kolkata
Also Starring
(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
Sunil & C. V. N. Kalari Group, Nadakkvu, Calicut
Ratan K. Singh & Manipur Group, Anjika Kolkata
Baiju & KuttanduBoat Club, Mampuzhakary, Alleppey
O Re Kanchi Song
Pradeep K. Sarangi & Tendapadar, Balangir, Orissa
Rudramani Sahu & Dhumapali Ghoomra Baja, Saintala, Balangir, Orissa
Rajendra Mohapatra & Ranapa Group, Narendra Pur, Ganjam, Orissa
Keisham Rajomani Singh & Manipuri Group, Anjika, Kolkata
Tadpa Tribal Dancers, Dahanu Road, Maharashtra
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 )
( Danny Denzongpa )
  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
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 )
( Kareena Kapoor )
  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
Kareena Kapoor

Asoka to me is one of India's finest movies to be launched on an international platform. The script, the screenplay, the edit, the music are just a few of the elements that were used to make this movie different. Asoka is not your regular commercial Hindi movie.

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.

Santosh Sivan

Asoka was the Third Mauryan Emperor of the Mauryan Dynasty (274 - 232 BC).

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


"a unique look is what I want for this film. 'Period', yes, but contemporary. A look which echoes of the past and is fresh and inspiring too". These were Santosh's words for the kind of 'look' he wanted for 'Asoka'

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.

Shahrukh Khan

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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