Exploring the Intensity of Laxman Utekar’s Chhaava: A Historical Epic

Laxman Utekar’s Chhaava offers a gripping portrayal of the Maratha king Sambhaji, emphasizing the brutality of his reign. With Vicky Kaushal in the lead role, the film showcases intense battles and a relentless quest for vengeance against Aurangzeb. While the visuals are striking, the emotional depth may leave some viewers wanting more. Explore the film's unique take on history and its cinematic techniques that bring the past to life.
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Exploring the Intensity of Laxman Utekar’s Chhaava: A Historical Epic

A Unique Take on Maratha History

Laxman Utekar’s film, Chhaava, distinguishes itself from typical sword-and-dhoti narratives. This Hindi biopic delves into the life of Sambhaji, a 17th-century Maratha king, emphasizing the harsh realities of his reign.


Utekar's portrayal of Sambhaji (played by Vicky Kaushal) is devoid of softening language or euphemisms. Following the death of his father, Shivaji, the founder of the Maratha empire, Sambhaji's nine-year rule is marked by a fierce commitment to battle, often fighting alongside his troops.


He wears his blood-stained garments with pride, loudly proclaiming his dedication to swarajya, or self-governance. Even when seated on the throne, he appears restless, eager to confront his nemesis, Aurangzeb (Akshaye Khanna).


A Film of Anger and Violence

Unlike many Bollywood historical dramas that lean towards melodrama, this film exudes a palpable anger. Its aggressive tone is reminiscent of Chandraprakash Dwivedi’s Samrat Prithviraj (2022), with some action sequences echoing the intensity of historical conflicts. The film's focus on vengeance and retribution creates a frequently violent and exhausting viewing experience.


Spanning from 1681 to 1689, the film chronicles Sambhaji’s tumultuous reign, culminating in his brutal demise. Aurangzeb laments losing a formidable opponent with Shivaji's death, while his court, including his daughter Zeenat (Diana Penty), prematurely predicts the end of Maratha dominance.


Visual Mastery and Cinematic Techniques

Sambhaji’s assault on Burhanpur in 1681 disproves Aurangzeb's assumptions. The film depicts the ensuing conflict in a manner consistent with historical accounts, showcasing relentless scenes of combat.


Based on Shivaji Sawant’s Marathi novel Chhava, Utekar’s screenplay shines during action sequences. As a former cinematographer, Utekar’s visual storytelling is commendable, with cinematographer Saurabh Goswami expertly blending light and earthy tones.


A recurring theme shows Sambhaji and his soldiers overcoming overwhelming odds against Mughal forces. An extended battle scene, inspired by the film 300 and the Battle of the Bastards from Game of Thrones, vividly illustrates the struggle of a smaller, motivated group against a larger enemy.


Character Development and Performances

Dialogue during conversations among characters often lacks depth, with secondary figures like Sambhaji’s stepmother Soyarabai (Divya Dutta) and loyal general Hambirrao (Ashutosh Rana) failing to leave a lasting impression. A lengthy mourning scene for Hambirrao feels excessive, given the limited character development.


Rashmika Mandanna’s portrayal of Yesubai unintentionally injects humor into the film. While the narrative takes its Mughal critiques seriously, Mandanna’s struggles with Hindi pronunciation provide comic relief.


Sambhaji’s character loses some nobility by being depicted primarily as a warrior. His only moment of vulnerability comes through recurring nightmares, where he seeks solace from his father's wisdom.


A Strident and Visual Experience

Despite his warrior persona, Vicky Kaushal’s Sambhaji lacks regal presence during court scenes. The film’s battle cries of Jai Bhavani overshadow the opposing Allahu Akbars. When Aurangzeb suggests that Sambhaji abandon his rebellion, Sambhaji counters with an invitation for Aurangzeb to join him, promising no change in faith.


The film’s portrayal of the clash between saffron and green is overt, yet visually striking. Akshaye Khanna’s performance as Aurangzeb adds depth, portraying him as a figure of intrigue and minimal movement, commanding destruction with a mere glance.


As the film progresses, Aurangzeb appears to age, visibly worn down by Sambhaji’s relentless aggression. The pacing slows as Sambhaji endures torturous scenes reminiscent of Mel Gibson’s The Passion of the Christ.


Conclusion: A Mixed Bag of Visuals and Emotion

Utekar meticulously details Sambhaji’s suffering, which serves as the film's climax. The Christ-like imagery resonates with the film's themes of medieval punishment. However, the lack of emotional depth is evident, with loud speeches mistaken for genuine passion and lavish visuals confused for true grandeur.


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