Maharaj: Powerful storytelling but lacks impact

I have never been able to understand why and how films based on true stories get mired in controversies, and land in legal troubles. Aren't they supposed to be the safest bet for there is no risk of any fictionalised depiction, and it's all about stating facts as is?

Nevertheless, a delayed release for Junaid Khan's debut film, Maharaj, after the Gujarat High Court ordered stay on its release last week, hasn't really killed the buzz, and if anything, it seems to have only added to the craze and curiosity among audiences. While a particular section might still feel that the film hurts the religious sentiments of people, Maharaj remains an important story that's thought provoking and to some extent, groundbreaking.

What is Maharaj about
Based on the landmark Libel Case of 1862 that was fought in the Supreme Court of Bombay, Maharaj isn't a courtroom film as it may have implied through its synopsis and initial chatter. The historical film, directed by Siddharth P Malhotra, is a dramatic showcasing of the events that led to this case and how it remains of historic significance.

Set in the 1980s, Maharaj chronicles the times of Karsandas Mulji (Junaid Khan), a Gujarati journalist, writer and social reformer, who fought for women's rights, and waged a war when he decided to stand against the evil practices by religious leader Jadunath Maharaj aka JJ (Jaideep Ahlawat), who sexually exploited his female devotees in the garb of superstitious rituals and practices like 'charan seva'.

It's after Karsan witnesses his fiancee Kishori (Shalini Pandey) falling prey to Jadunath's unrighteous act at his haveli, that he decides to expose the religious leader. Jadunath then files a defamation case against Karsan for writing and publishing an article about his erotic escapades in the newspaper Satyaprakash. Not just Jadunath, Karsandas, in his write-up, also mentions fathers and husbands, who offer their unwed daughters and newly wedded wives as sexual objects to Maharaj, believing it to be a service to God.

Powerful but lacks impact
As a reformist, Karsandas often faced backlash for his pragatisheel (progressive) thoughts that advocated gender equality, widow remarriage and not supporting blind faith in religious leaders who sell themselves as messengers of God. To familiarise audiences with his guts, contribution to the society and legacy he has left behind, Maharaj opts for a powerful storytelling yet it lacks the impact.

Could it be because that Siddharth got burdened by the conventional norms of how Yash Raj characters and particularly the hero needs to look like, and the whole conventional way of mounting a huge set with beautifully choreographed dance sequences, whereas the actual story at hand takes a backseat often and at several places.

Holds relevance today
Though Maharaj is set in the pre-independence era, the story and the fight against 'bhakt culture' holds relevance in today's times as well. There exist several self-styled godmen, who continue to exploit women in the name of religion and sinful practices. There's also a subtle yet significant reference to the freedom of press, and how Karsan, who hailed from a Vaishnav community, tried his best to protect that.

There's a scene in the film where Karan, after he has called off his engagement with Kishori, is being schooled by one of the characters who says, "Telling people they are wrong is not enough. You need to give them a chance to reform and rehabilitate and that will bring about real change." I think that's where Maharaj truly wins for me, as it doesn't end at just making Jadunath aware of his wrongdoings, but also acting upon it by passing this landmark judgement.

The performances
Junaid Khan shines bright and holds his ground strongly in every frame. I really liked the freshness he brings to screen, and honestly, I didn't draw any comparison, while watching him, with his superstar father Aamir Khan. That's the talent and individual persona that Junaid brings forth, which makes watching him worth it. He looks innocent in one scene and showcases immense courage in the next scene. His dialogue delivery in the courtroom scene is worth lauding.

Shalini Pandey, who was launched in Hindi films by YRF's earlier outing Jayeshbhai Jordar, has only a handful of scenes, but she excels in those and looks flawless. The portion where she is shown sitting on top of Jadunath and having sexual intercourse with him, is disturbing and aesthetic at the same time. 

Moments before that scene when JJ opens the string of her blouse, the expression on Shalini's face - a mix of fear, nervousness and confusion - is brilliantly portrayed. The innocence with which she surrenders herself to JJ, and how vulnerable she becomes on knowing the truth - Shalini has played both sides so well.

Sharvari, on the other hand, has way more vivacious and loud screen presence. She brings a different dimension to the narrative and blends a myriad of emotions that we witness at various places. The portion when she confesses about her dark past of having been forced to do charan seva by her parents at the age of 16, is heartbreaking, and performed with so much conviction.

Amid all these fresh performances, it's Jaideep Ahlawat who steals the show and remains true to his character from the word go. Though he has bare minimum dialogues, his expressions, body language and demeanour are used at their best to convey his concealed rage. The moments where he smirks on being called out by Karsan, and in sequences where he tries to woo his female followers while maintaining a calm stance, Jaideep makes his morally wrong self look so convincing.

In conclusion
The climax scene needs a special mention that shows Jadunath sitting on his throne with a cold exterior and sinful smile, while Karsandas stands and gives a monologue questioning people about their blind faith and beliefs. Before the end credits roll and we are shown actual pictures of Karandas and other important characters with a brief on them. The film leaves you with a thought-provoking voiceover asserting that we don't need an intermediary to have a connection with God, reiterating that Dharma does not make one God but is a means to becoming a good human being.