Chhaava (2025) Review!!

Synopsis – A historical drama based on the life of Chhatrapati Sambhaji Maharaj, the son of Chhatrapati Shivaji Maharaj.

My Take – As an enthusiast of Indian history and admirer of the many brave warriors the country has produced, I had high expectations from this Maddock production that promised a big screen insight into the incredible life of Chhatrapati Sambhaji Maharaj, the second ruler of the Maratha Confederacy.

While he is not as well-known as his illustrious father, Chhatrapati Shivaji Maharaj, the founder of the Maratha kingdom, Sambhaji gained a reputation for taking on the might of Mughal emperor Aurangzeb for around eight years in Deccan during the 17th Century. Inflicting heavy damage on his humongous army and pride with his unmatched valor and guerilla tactics before being ultimately betrayed by his brother-in-law that led to his capture and death.

With the current political atmosphere enabling his sudden growth in popularity, for example last year itself saw three Marathi language feature releases, for his latest, director Laxman Utekar (Luka Chuppi, Mimi) too goes for a no-holds-barred Hindi language epic treatment about the historical figure with lavish sets and visual effects. All done to create an immersive experience for the viewer.

But while the resulting film is technically sound, it does fall short in terms of content and execution, particularly in the first and second acts of the narrative. Adapted from the Marathi novel ‘Chhava‘ by Shivaji Sawant, the film takes a lot of creative liberties and exaggerates events for dramatic effect. Leaving the screenplay in dilemma, unable to convincing separate history from unalloyed heroic grandstanding.

Sure, it is understandable that the narrative wants to entertain, inspire, and stir up patriotic feelings. But, with the exception of a few sequences, most of the war scenes feel unrealistic and the violence too over-the-top, with A.R. Rahman‘s incompatible soundtrack and score further dampening the effect.

Thankfully, things pick up close to the final act, where the whole narrative gets truly gripping and leads towards a terrific climax. However, the biggest catch of the film is Vicky Kaushal.

The screenplay, credited to Laxman Utekar, Rishi Virmani, Kaustubh Savarkar, Unman Bankar and Omkar Mahajan, allows the lead actor to grab this opportunity to show case his talents and spares no effort in the trust reposed in him. If you enjoy large-scale, dramatic historical films, this one might be worth a watch. But, with a more balanced approach to storytelling and a greater emphasis on authenticity, the film could have been a truly memorable experience.

Taking place right after the news of Chhatrapati Shivaji Maharaj’s demise reaches Delhi, the story follows Sambhaji (Vicky Kaushal), his eldest son, who in his refusal to be a vassal of the Mughal Empire, ruins their moment of celebration hy staging a surprise attack.

Backed by the prayers of his wife, Yesubai (Rashmika Mandanna), and the support of his general and adviser, Hambirao Mohite (Ashutosh Rana) and his friend and court poet, Kavi Kalash (Vineet Kumar Singh), Sambhaji burns down the strategic garrison at Burhanpur, a key administrative and commercial center, directly challenging imperial authority and picking up leadership.

Realizing that the Maratha resistance is far from over, Emperor Aurganzeb (Akshaye Khanna) sparks a long battle of attrition where the betrayal of family members impacts both the Marathas and the Mughals.

What follows is a typical commercial treatment that focuses more on spectacle than refined storytelling. Nevertheless, director Laxman Utekar builds his historical on a massive canvas, giving the film the larger than life appeal it deserves. The sets and costumes are impressive, adding authenticity to the period setting.

However, the high drama robs the narrative of any possibility of grounding itself in believable terrain as the line between the exploits of an intrepid warrior-king fighting against tyranny and an acrobatic stuntman playing to the gallery are blurred. Here, everything from Sambhaji’s call to action and Aurangzeb’s inhuman behavior, are laid out thick and heavy, without the slightest subtlety. The battles are always one-sided and the dreadful and merciless Mughal soldiers are simply lambs to be slaughtered.

More surprisingly, the music and score by A.R. Rahman is the weakest part of the film. It simply didn’t have the necessary energy to match the Maratha spirit in battle scenes, and in many places, the score was so out of sync that it distracted from the experience.

Eventually, the film finds its purpose and emotional grip late in the final half, all leading to an outstanding climax that sees Sambhaji single handedly take on many soldiers, as his brave companions fall one by one. The torture sequence, where Sambhaji is captured and brutally tormented on the orders of Aurangzeb and his daughter, Zinat-un Nissa Begum (Diana Penty) is so raw and devastating that it transcends mere physical pain. The true agony lies in the emotional and psychological toll the warrior king endures, and Kaushal’s performance in this scene breaks you as a viewer.

Credit goes to Vicky Kaushal’s enterprise and magnetic appeal to keep the period vehicle moving. From his towering presence on screen to the vulnerability beneath his warrior spirit, Kaushal transforms into into the young Maratha king with an intensity that is both exhilarating and heart-wrenching. Akshaye Khanna as Aurangzeb is equally compelling. With his calm demeanor and piercing gaze, Khanna brings the Mughal emperor to life as a cold, calculating figure, driven by an insatiable thirst for power.

On the other hand, Rashmika Mandanna is strong in her motions but struggles with her accent, making her portrayal feel miscast. In supporting roles, Ashutosh Rana, Vineet Kumar Singh and Neil Bhoopalam provide terrific support. Sadly, Divya Dutta and Diana Penty have limited scope to offer. On the whole, ‘Chhaava‘ is a performance driven historical that struggles under the weight of its loud, gory and tedious treatment.