Maharaj review: Junaid Khan's makes his debut in average film with a terrific story

After weeks of uncertainty, Yash Raj Films and Netflix's new period film Maharaj is finally out on the OTT platform. The film is important in many ways. It is based on a real-life historical court case dating back to 1862 in Bombay, it marks the debut of Junaid Khan- son of Bollywood superstar Aamir Khan and it features Jaideep Ahlawat as a creedy demi-god and the main antagonist of the film. Owing to these factors, the curiosity around the film has been high even though due to it courting controversy and facing an interim stay order in the past few weeks, the promotions around the film have been dismal. 

Khan plays journalist and reformist Karsandas Mulji who is known for his radical thoughts on women empowerment, widow remarriage and equal rights. Known to ask questions that make people or rather conformists uncomfortable, Karsandas finds himself on trial after a defamation case is filed against him by a Vaishnav sect leader Yadunath Maharaj or JJ (Jaideep Ahlawat). JJ files a defamation case against the reformer after he accuses him of sexually exploiting his female devotees in an article in Dadabhai Naoroji's Anglo-Gujarati newspaper Rast Goftar. 

Karsan has seen people in his family including his maternal aunt and his fiance (Shalini Pandey) fall prey to JJ's lascivious gaze. For years, JJ has been luring female devotees to his private chamber for a ritual called 'Charan Sparsh' and deflowering them. Families have been willingly sending their new brides and even teenage daughters to Maharaj in the hope of getting blessings in abundance from the Almighty as JJ claims he is the direct agent of God. No one questioned JJ until Karsan came on to the scene. JJ has created an empire of sorts just based on the blind faith of thousands of devotees. 

Maharaj is based on a Gujarati novel by Saurabh Shah and mostly narrates the incidents that led to the historic judgement in the Maharaj Libel case of 1862. 

The film not only questions fanaticism and blind faith in the name of religion but also highlights freedom of expression and the reformation of archaic norms at a time when India was still under British rule. When you have a powerful story that had such a significant impact on Indian society, you cannot possibly go wrong with the execution. Siddharth P Malhotra helms a film that is well intended but the commercial trappings are hard to ignore and they take away the essence of a great story. 

The opulent sets, the beautiful costumes, the women- all dressed in traditional finery look like a part of a Bhansali universe. I can't help but compare it to SLB films as the maverick filmmaker has over the years created a stunning world showcasing the richness of Gujarati culture. 

Debutant Junaid Khan gets an impressive character to play but is very average throughout the film. Even if one ignores the fact that he is the son of one of the most formidable actors of our generation, Khan never manages to leave a defining impact with his role. There are certain moments in the film where the young actor shows promise, especially a scene outside JJ's Haveli (a sacred temple area) where he places a photo of Lord Krishna under a tree and urges people to continue with their prayers even if JJ has shut doors and access to the main sanctum area. But overall, Junaid's performance, much like the film's implementation is strictly passable.

In his legal fight with Maharaj, he is aided by like-minded people including Viraj (Sharvari Wagh) a perky young woman who becomes a proofreader for Karsan's newspaper. Wagh plays her character with conviction even though it has the usual trappings of a typical, talkative, over-enthusiastic film heroine who always falls for the silent brooding hero. Wagh has limited screen space but manages to create an impact. 

The film though belongs to Jaideep Ahlawat who looms large over everyone else with his understated performance. He smirks creepily through most of his part but that is enough to create menace in everyone's life. One would not imagine Ahlawat being cast in such a role but he excels as the authoritative, calculative, slimy Maharaj who is convinced he is doing no wrong. 

The film's subject is a grim one and comes at a time when we are already living in a somewhat polarised society where often religious identities supersede education and practicality, which is why Maharaj is an important story that needs to be told. If a man in the 1800s could question blind faith and rise up against a mighty, authoritative religious leader, what is stopping us now- from questioning what is wrong? At a point in the film, a priest reminds a dejected Karsan that one is only true to faith if he or she asks questions. Fanatism has never helped- not now, not 200 years back.

I do wish Maharaj did not indulge in the song-dance routine (there are two songs involving the two heroines) and had been a little bit more serious in its screenplay. It touches upon issues, yet never delves deeper. 

Junaid Khan and the film is middling, but Maharaj wins due to Jaideep Ahlawat's performance and it is a core story which is true and makes you think hard about faith and religion. 

Maharaj is streaming on Netflix.