Netflix’s latest period drama, Maharaj, aims to tell a gripping story but falls short of expectations. The film begins with a young Karsandas Mulji, who boldly proclaims his feminist beliefs, questioning societal norms about women’s roles and advocating for widow remarriage.

Set in 1860s Bombay, the film is centered around Karsan, a journalist dedicated to social reform. Despite its promising premise, Maharaj quickly reveals its flaws through inconsistent character portrayals and misguided moral messaging.

Junaid Khan’s Debut and Character Dynamics

Maharaj marks the acting debut of Junaid Khan, son of Bollywood superstar Aamir Khan. While the project had potential, Junaid’s portrayal of Karsan fails to resonate.

The film’s script, which should highlight Karsan’s progressive ideals, instead showcases a protagonist who is the biggest red flag in recent Hindi cinema. His actions consistently contradict his stated beliefs, creating a dissonance that undermines the film’s narrative.

Problematic Portrayals and Misguided Morality

Karsan’s character is engaged to Kishori, played by Shalini Pandey. Introduced with a song and dance number, Kishori soon becomes a victim of the titular Maharaj, a local priest played by Jaideep Ahlawat.

The Maharaj invites Kishori for a ritual that turns into a public rape. Instead of supporting her, Karsan shames Kishori, severing ties and blaming her for the assault. This shocking moment highlights the film’s failure to address Karsan’s hypocrisy and moral failings.

Critique of Virtue Signaling

The film is rife with virtue signaling, portraying Karsan as a champion of women’s rights while simultaneously showing his contempt for the very women he claims to support.

His advocacy for women’s education and widow remarriage is undercut by his personal actions. For instance, after Kishori’s assault, Karsan publicly humiliates her and contemplates hitting her, further exposing his deep-seated misogyny.

The Issue of ‘Fridging’

The film reaches a low point when Kishori, after enduring public shame and disrespect, commits suicide by jumping into a well. This trope, known as ‘fridging,’ is a sexist narrative device where female characters are harmed or killed to motivate male protagonists.

Maharaj uses Kishori’s death to propel Karsan’s character development, disregarding her as a mere plot device.

The Court Case and New Romance

Following Kishori’s death, Karsan resolves to expose the Maharaj, leading to the court case that was hinted at in the film’s opening.

This significant plot point, however, is crammed into the final 20 minutes, diluting its impact. Simultaneously, Karsan begins a new romance with Viraj, played by Sharvari Wagh, almost immediately after Kishori’s death. This quick transition disrespects Kishori’s memory and undermines the film’s message about women’s empowerment.

Production and Direction

Directed by Karan P Malhotra and based on Saurabh Shah’s 2013 Gujarati novel, Maharaj features a cast that includes Jaideep Ahlawat, Shalini Pandey, Sharvari Wagh, and Jay Upadhyay.

Despite the talent involved, the film’s direction and script fail to deliver a cohesive story. The film’s technical aspects, such as cinematography by Rajeev Ravi and production design, are commendable but cannot compensate for the narrative’s flaws.

Social and Cultural Impact

The release of Maharaj faced opposition from a Hindu outfit, which claimed the film hurt religious sentiments, leading to a temporary suspension. However, the Gujarat High Court lifted the suspension, stating the film did not contain objectionable content. 

The production house Yash Raj Films (YRF) expressed gratitude to the judiciary, emphasizing the film’s celebration of social reformer Karsandas Mulji.

Maharaj tries to address important social issues but is marred by its execution. The film’s protagonist, Karsan, is a deeply flawed character whose actions contradict his supposed progressive beliefs.

The narrative’s reliance on problematic tropes and its inconsistent moral messaging make it a misguided attempt at a period drama. Despite its potential and strong performances from the cast, Maharaj ultimately fails to deliver a compelling or coherent story.

The information is taken from India Today and Times of India