Raja Shivaji TamilYogi Review: Elephant scene with Sanjay Dutt was supposed to be thunderous, a scene that shakes the room. Rather, its artificial glossiness of CGI is a silent recap of Raja Shivaji. It is one movie that has very obviously attempted to pay tribute to Chhatrapati Shivaji Maharaj in grand and majestic manner. That intention can be observed in the way it follows the political tension of Adilshahi, Mughalshahi, and Nizamshahi, before heading towards Swarajya. But merely having intentions is not enough. With Riteish Deshmukh taking on an almost mythic role, the film continues to tip and to towards-surface spectacle. There are those moments, which land, which are, in many ways, pushed by a very stirring score, and there are moments which are distant, as though the soul of the story were just beyond reach.
In the very first passages, the film tries to establish its own political space, describing the influence of the Deccan Sultanates and the alliances which were formed around them. It follows the early linksages of the Bhosale family, before reverting to the Bhosale rebellion and gradual ascendancy. The development of swarajya leading to the murder of Afzal Khan played by Sanjay Dutt, is brought out in an easy to understand format. These are the milestones that are not unknown and the audience comes with this awareness. The important thing, then, is performance. It is there that the movie turns out to be an ambivalent experience.
The ambition is clear visually but also the limitations are clear. The excessive reliance on VFX undermines some of the key moments. Scenes which must be immediate and visceral instead seem to be overworked. The digital overload of grand entry by Shivaji which requires electricity is not based on physical reality. The movie frequently appears to replace scale with authenticity, and the blow is missed.
Riteish Deshmukh casting can still be considered the most controversial decision in the film. He can play the role well, yet the position requires a authoritative voice that does not entirely come out. The halo of Shivaji Maharaj is dulled. Although the first half of the film gives one a bit of time to settle into the role, the hurried pace of the second half makes connecting to that role more difficult.
That second half proceeds with a certain sense of haste, as though it were putting too much in too little time. Although the need to encompass a long historical arc can be attributed to the necessity to cover a significant historical distance in a single writing, the story telling comes across as rushed instead of condensed. The key developments go by at an alarming rate and there is very little time to indulge in any emotional depth.
There is a cameo much discussed which contributes a moment of interest but little substance. To cast a recognisable face as Jiva Mahala and not give the character much weight comes across as a missed opportunity. The look is symbolic and not inherent.
Nonetheless, there are factors that make the film cohesive. The background music is always able to enhance scenes, which provides emotional power where the visuals fail. Acts are honest throughout the board. The actor Genelia D’Souza is a committed actor, especially when it comes to coping with the linguistic challenges of her job.
Finally, Raja Shivaji is not written in a coherent way. It bears the form of a magnificent monument, but has trouble trying to capture the richness such a heritage requires. As a movie, it is good. Being an image of a giant figure in history, it is incomplete.
My rating of Raja Shivaji would be 3/5.
