Aditya N
Aditya N
Maharaja (Vijay Sethupathi) is an average male barber at a salon. Jyothi is his daughter, and he lives happily with her and Lakshmi. An attack and robbery ruin Maharaja’s night, and Lakshmi gets stolen. The movie’s basic story revolves around Maharaja’s journey to the police station to file a complaint about Lakshmi’s theft and his dedication to finding the truth.
Vijay Sethupathi’s character is a mix of his usual simplistic behavior and action elements, along with an. emotional angle underneath. He has undoubtedly chosen a solid role for his 50th appearance and delivered the required impact effortlessly. Anurag Kashyap’s performance as the antagonist is impressive. Nataraj, Aruldoss, and Munishkanth are ideally suited as police officers. Manikandan, Vinod Sagar, and Singampuli are all effective in their respective roles, with one of them proving to be unexpected. Abhirami is effective, while Mamta Mohandas is fine.
Nithilan Saminathan’s Maharaja, an action drama with a powerful emotional core, starts off in a seemingly ordinary manner. However, the film truly comes alive as Maharaja steps into the police station to report Lakshmi’s disappearance. The storyline effectively conveys the gravity of the situation, yet a touch of suspense is present due to the unconventional nature of the events that unfold. This leads to a discussion about the overall tone of the movie. Initially, it presents itself as a straightforward portrayal of everyday life with a sincere and genuine protagonist at its center. While there are occasional commercial elements interspersed throughout, the tone overall remains grounded and simplistic. The middle section, however, takes a thrilling turn, transitioning into a more suspenseful tone, keeping the audience on the edge of their seats. The final act shifts back to a more traditional commercial drama with a few unexpected twists, further adding to the intrigue.
The main plus point of the film is its screenplay. The storyline is familiar, and the twists can also be guessed after the midpoint, but what makes Maharaja is how the narrative holds the interest and never lets the proceedings slow down. The interval episode featuring a grand action sequence resembles some big commercial films. The change in tone couldn’t be more extreme. Nevertheless, the screenplay and captivating storyline consistently maintain the audience’s interest, creating anticipation for the latter part of the movie. While the second half becomes more plain, the emotional impact behind the turns and the actions of the characters work very well for the film. The emotional moments leading up to the climax and the unexpected twist in the climax are guaranteed to evoke strong emotions. The story concludes tidily, and despite the weightiness of the events, the lighthearted tone also works.
There are undoubtedly problems with the film. The issue lies within the script itself and the decisions made by the director during the planning stage. A few important twists in the movie come with a mixture of coincidences, which does not feel great. These moments are intentionally included to conveniently propel the narrative forward. However, upon reflection, it slightly diminishes the overall impact of the film.
