A Dull Debut: ‘Maharaj’ Falls Flat

As I sat through the screening of ‘Maharaj’, I couldn’t help but feel a sense of disappointment wash over me. The film, based on a landmark libel case fought in the Supreme Court of Bombay in 1862, had all the makings of a gripping drama. But what unfolded on screen was a lackluster attempt at storytelling, with a treatment that was bland, sets that were unimaginative, and dialogues that were labored and stilted.

The historic Supreme Court of Bombay

The story focuses on the events leading up to the fight between Karsandas Mulji, a Gujarati social reformer-journalist, and religious leader Jadunath Maharaj, who rapes and sexually exploits his women devotees in the name of ‘Charan Seva’. It’s a topic that deserves attention, but the film’s approach was too timid, too afraid to take a stand.

“The first thing he tells his fiancée when he barges in on the so-called ‘Charan Seva’ is: ’tumse ye umeed nahi thi’ (This was not expected of you).”

Junaid Khan as Karsandas Mulji

Junaid Khan, Aamir Khan’s son, makes his debut with this film, and while he’s earnest in his portrayal of the angry young reformer, he struggles to make an impact. The usually dependable Jaideep Ahlawat, on the other hand, has a creepy smile plastered on his face throughout, which looks like he’s trying to hide his ennui behind this curiously single-expression performance.

Jaideep Ahlawat as Jadunath Maharaj

Director Siddharth Malhotra seems to be stuck in a time warp, unable to shake off the YRF hangover that plagues this film. The result is a mess of fluff, sentiment, and grandeur that sits awkwardly with this story.

The YRF influence

In the end, ‘Maharaj’ is a film that tries hard but falls flat. It’s a shame, because the subject matter deserves better. Maybe next time, we’ll get a film that does justice to this important chapter in Indian history.

A glimpse into India’s rich history