New Delhi: Netflix’s latest offering, “Maharaj”, steps away from Hindi cinema’s typical larger-than-life debut of a “nepo kid” and opts for a more strategic introduction of Junaid Khan, son of Aamir Khan.
Based on the landmark Libel Case of 1862, the historical drama provides Khan with a fertile ground to showcase his acting prowess while sidestepping the pressures of box office performance. The young actor rises to the challenge of standing toe-to-toe with the critically acclaimed Jaideep Ahlawat – quite literally!
Directed by Malhotra P. Siddharth, “Maharaj” chronicles the journey of Gujarati writer and reformist Karsandas Mulji (Junaid Khan) in his battle against the ill practices of religious leader Jadunath Maharaj (Jaideep Ahlawat), who exploits women under the guise of ‘Charan Seva.’
Despite its promising premise, the drama falls short of making a lasting impact.
The resolution comes easily, leaving the anticipation of the entire build-up hanging in the air. The film becomes more about going to the court than the courtroom drama itself. Instead of a powerful back-and-forth, Karsandas’s climatic monologue brings the case to the rest.
The filmmaker attempts to delineate the Vaishnav community’s sacred practices and evil actions of con men. In one scene, Karsandas recites a Sanskrit shlok, explaining its true meaning before contrasting it with Maharaj’s self-serving distortion.
However, both the actors carry the loosely scripted drama well on their shoulders. Jaideep Ahlawat once again shines with his commanding screen presence and acting prowess. His portrayal, marked by the contradiction between his sweet smile and malicious intent, is a highlight.
The final scene, where he steps on the ground for the first time without his devotees, is a masterclass in acting with the entire body. With his each footstep on the ground, he effectively showcases his humiliation and despair.
Junaid Khan has big shoes to fill. While promising in his debut, he lacks the dynamism required for a character challenging such a powerful figure.
Ironically, a film centred on women’s rights lacks a strong female presence. Apart from two major songs featuring Kishori (Karsandas’s fiance), played by Shalini Pandey and Viraaj (Karsandas’s partner), played by Sharvari Wagh, the female characters are underutilized. In their limited presence, both actresses look captivating on screen.
The set design, particularly the Haveli where Maharaj resides, is commendable. Vaibhavi Merchant’s choreography and the grandeur of “Holi Ke Rang Ma” are visually stunning. Sonu Nigam’s rendition of “Achutam Keshavam” and Monali Thakur’s romantic track “Haan Ki Haan” are refreshing musical highlights.
Overall, “Maharaj” narrates an inspirational story that deserves an audience. Despite its flaws, the film deserves applause for bringing Karsandas Mulji’s brave fight alive on screen.
