Maharaj (2024) Review!!

Synopsis – Based on a real-life historic court case, a bold journalist questions a revered leader’s immoral behavior.

My Take – There are indeed many reasons to watch this latest feature from director Siddarth P. Malhotra (Hichki), firstly being that it marks the acting debut of Junaid Khan, son of Hindi cinema superstar Aamir Khan, and second being, that it marks the sophomore venture from the unique YRF and Netflix creative partnership, which began last year with the excellent miniseries, The Railway Men.

Marred with unnecessary controversy, which stunted its original release on June 14th, this compelling David and Goliath tale is based on a book of the same name by Saurabh Shah that revisits the landmark Maharaj Libel Case of 1862 and Karsan Das Mulji, the journalist who dared to stand up even when the world and circumstances were against him.

Backed by an engrossing story-line, strong performances, and visually stunning cinematography, the film offers a vivid portrayal of a pivotal moment in Indian legal history and society.

Most importantly, it makes a bold attempt to showcase religious exploitation and portrays the religious brain washing of the masses and how a cult leader just uses his followers for his personal desires in the name of their belief.

Surely, this one is an unconventional and brave choice for a debut, and Junaid Khan manages to capture your attention with his act. Though he still has a long way to go, he gives an appropriate glimpse into the talent he possess, leaving us excited for his upcoming ventures.

Set in mid-19th century Bombay, the story follows Karsandas Mulji (Junaid Khan), a liberal-minded young man, a part of the Vaishnav community, who questions societal norms from a young age. As he grows up, he becomes a journalist, writer, and social reformer.

Soon to be married to Kishori (Shalini Pandey), Karsandas’ life seem to be heading the right way, that is until, he is shocked to find his fiancee in bed with Maharaj Yadunath (Jaideep Ahlawat) aka JJ, an incredibly powerful and wealthy god man, involved in a custom called Charan Seva, which in actuality is a spiritual way of sexual intercourse according to Maharaj’s teachings.

Though JJ justifies his actions by claiming that he is an embodiment of God, the progressive-minded Karsan is particularly horrified that his bride-to-be also believes in such practices.

And when tragedy strikes, high on principles and against backward thinking, Karsan becomes determined to expose the religious leader’s exploitation of followers, particularly young girls and women, under the false pretense of serving. A matter which eventually heads to court.

Similar in vein to features like PK (2014) and Sirf Ek Bandaa Kaafi Hai (2023), and popular MX Player series like Ashram (2020 – ), the film, written by Sneha Desai (Laapataa Ladies) and Vipul Mehta (Kanjoos Makhichoos), is essentially a conflict of David versus Goliath magnitude between righteous rage and spiritual narcissism. With the idea is to lay bare the blind devotion of followers as well as the unchallenged exploitation at the hands of God men against the backdrop of 19th century Hinduism.

While unveiling the sad reality of these customs, there’s a moment where one of the survivors defends her predator, saying that’s the only way to get a better afterlife. It may seem unrealistic to many, but it does highlight how gullible minds are manipulated by people.

Given that the story is set a century before independence, you can’t help but appreciate the courage it took for Karsandas Mulji to go against such beliefs back then. Yet the themes of the film are relevant to modern times, emphasizing the importance of challenging wrongful practices and blind faith.

The cinematography too enhances the narrative, with every frame being vibrant and reflecting the era’s authenticity. The film’s pacing is well-maintained, ensuring the story flows smoothly without any lulls. The editing is sharp, keeping the audience engaged throughout the film.

Despite some narrative distractions, the last 30 minutes are impactful, highlighting the core issues and leaving a lasting impression. Though director Siddharth P. Malhotra‘s vision is well-executed on screen, there are instances one can’t help but feel that the film could have made a stronger impact, even though it is evident that the makers are walking a tightrope while handling a sensitive film like this.

Nonetheless, the climax is delivered with such intensity and impact that it fully engrosses you. The courtroom drama differs from typical Hindi films, with the monologue on Hindu religion, wrongful religious practices, blind faith, and sex crimes being quite commendable.

Performances wise, Junaid Khan makes a decent debut. His portrayal of a principled young man standing up against corruption and hypocrisy is both compelling and inspiring. Khan‘s nuanced acting captures the internal struggles and resilience of his character, making his journey profoundly relatable. There’s a lot of honesty and hard work, and that’s evident in his turn.

Jaideep Ahlawat is formidable as always. Donned in gorgeous costumes, Ahlawat has very little dialogue in the film, but his depiction of the charismatic yet morally corrupt Maharaj is chilling. His ability to convey the complexities of a powerful figure facing public scrutiny adds significant depth to the narrative.

Shalini Pandey is very believable in her role, and finds the perfect balance between her emotions. Her chemistry with Junaid is palpable. Sharvari (though weirdly billed as a Special Appearance) manages to steal the show on several occasions. Bringing a certain energy and lightness to the dark proceedings. On the whole, ‘Maharaj’ is a compelling and well-intended story that successfully conveys its message.