Chhaava Review: A Grand Salute to a True Hero with a Religious Undertone

Chhaava, directed by Laxman Utekar and produced by Maddock Films, brings Shivaji Sawant’s Chhava to life with Vicky Kaushal as Chhatrapati Sambhaji Maharaj. While delivering gruesome battle sequences and intense performances, the film leans heavily on glorification, treading a fine line between patriotism and religious overtones.

Story

Following the death of Chhatrapati Shivaji Maharaj, the Mughal emperor Aurangzeb celebrates his dominance. However, his joy is short-lived as Sambhaji Maharaj, the son of Shivaji, rises to reclaim lost territories. The film opens with a gripping war sequence, establishing Sambhaji’s courage and leadership. As the battle between Aurangzeb and Sambhaji escalates, political betrayals and internal conflicts add layers to the narrative.

Performances

Vicky Kaushal continues his streak of stellar performances, embodying the fierce and fearless Sambhaji with conviction. His screen presence is commanding, and his portrayal does justice to the legacy of the Maratha warrior.

Akshay Khanna as Aurangzeb is menacing, his appearance and facial expressions induce the fear of a monster. The only complaint in his portrayal was the way he walked—it felt like a 40-year-old man walking while wearing a 90-year-old man's makeup. He does have some physical action in the movie; he kills people, yes, but having that energy in his hands is different from walking like an old man. It felt odd at the moment, and there should have been some improvement there.

Diana Penty doesn’t have any dialogues until the second half

Rashmika Mandanna as Yesubai Bhonsale plays a supportive role, constantly motivating and uplifting Sambhaji, though her character lacks depth beyond being a pillar of encouragement.

Technicalities

The film excels in its war sequences, capturing the brutality of battle with well-choreographed action and realistic depictions of bloodshed and dead bodies. The cinematography ensures that the grandeur of the Maratha Empire is visually striking. The dialogues are crafted poetically whenever possible, staying true to the essence of historical films. Although A.R. Rahman’s music is great, but the editing feels a bit off. The 'valor' music suddenly kicks in when Sambhaji’s action sequence begins, only to fade away just as abruptly, making it feel uneven.

Analysis

Director Laxman Utekar ensures Chaava remains an entertaining experience. Nowadays, violence in movies has become a means to make a quick buck. There wasn’t much of a story in this historical narrative—they either took a short story or lacked a strong overarching narrative, and stretched it into a two-hour and 35-minute film. Movies often glorify one side of history, and whether that is good or bad depends on the audience. Chaava felt like the right glorification of the right hero in history. Chhatrapati Sambhaji Maharaj, the son of Chhatrapati Shivaji Maharaj, calls himself the son of a lion, 'Chhaava.' The movie is entirely dedicated to praising Sambhaji’s greatness. It also attempts to include his wife, Yesubai Bhonsale, in this glorification as a 'Veerapatni' (brave wife).

Throughout the war sequences and the film, there is a constant chanting of 'Jai Bhavani,' 'Har Har Mahadev,' and 'Swaraj.' The excessive use of religious chants may raise concerns about a religious bias. Aurangzeb is depicted as a cruel Mughal ruler, which is historically accurate to an extent. Finally bringing this part of history to the screen is commendable.

Cinema is a powerful medium. A real portrayal of history, combined with some dramatic elements that cultivate positivity, would be ideal. However, leaning too much into religious or political biases can distort history and create unrest among audiences. If a film were made with a similar political inclination toward other minority groups, it would likely spark outrage.

However, its lack of strong story, over-glorification of its protagonist, and undertones of religious and political bias may not sit well with all audiences. For those seeking an emotionally charged historical drama, the film serves its purpose, but a more nuanced storytelling approach could have elevated it further.

Rating: 2.5/5