Maharaj Review: Made With Good Intentions, Junaid Khan Debut Makes Little Impact
Netflix’s release Maharaj is based on a Gujarati novel by Saurabh Shah, published in 2013. The movie also marks the debut of Aamir Khan’s son, Junaid Khan. Directed by Siddharth P Malhotra, the novel and its namesake movie depict the historic 1862 Maharaj libel case that took place in Bombay (now Mumbai, “then a concept more than a city,” according to the movie’s narrator).
The movie’s central theme revolves around the confrontation between reformist journalist Karsandas (played by Junaid Khan) and Jadunathji (Jaideep Ahlawat), a high priest of the Pushtimarga sect of Vaishnavites. Junaid Khan’s performance appears influenced by classical cinematic and theatrical acting styles, as opposed to the naturalistic approach of many of his contemporaries. While he is a competent actor, he sometimes falls short of embodying a lead character capable of shouldering a serious historic personality and delivering the intense scenes demanded by the story. He has potential but needs more opportunities to fully showcase his hidden talents.
In Maharaj, Junaid is given ample chances to prove his caliber, but he makes only a modest impact on the audience. Conversely, Jaideep Ahlawat excels as the antagonist, commanding the screen and his character whenever he appears.
The story of the 1862 Maharaj libel case is notable for highlighting how imperial British judges mediated a conflict between religious conservatism and progressive reform in colonial India. The defamation suit was initiated by Jadunathji against Karsandas, the editor of the Gujarati-language weekly Satyaprakash, who was heavily influenced by the reformist activism of Dadabhai Naoroji. The trial, held in the Supreme Court of Bombay, attracted extensive public interest and debate. Though the case was against Karsandas, the trial exposed the exploitative actions the priest inflicted, mainly on unmarried women of the sect, under the guise of ‘divine services.’ Ultimately, Karsandas successfully defended himself and was awarded a reward, as described in the novel. The movie ends with Jadunathji being ignored by the crowd of devotees who were present at the trial, while Karsandas is warmly welcomed by them.
The linear storytelling approach allows the writer and director to effectively pursue the dramatic nature of the story. In addition to the main conflict between the protagonist and antagonist, the movie begins with Karsandas’s love affair with his fiancée, Kishori (Shalini Pandey). Once he becomes a full-fledged revolutionary, he meets Viraaj (Sharvari Wagh), who, along with Kishori, represents powerful female presence in the story. These characters highlight women’s struggle for freedom from the constraints of religious conservatism. With a longer screen presence, Sharvari Wagh delivers a strong performance. Jay Upadhyay, as Jadunathji’s factotum, also portrays a good character.
Timeline verdict: This historic movie, which also provides insights into the Anglo-Gujarati paper Rast Goftar started by Dadabhai Naoroji and Kharshedji Cama in 1854, and the reformist ideas, depicts the fight against religious conservatism. It could have been more impactful with more careful attention to acting and production.
