Chhaava: Vicky Kaushal’s Power Can’t Save This Slow-Burning Period Drama.Filmygod

A Review of Chhaava: An Overwrought But Competent Historical Drama

When it comes to historical epics, especially those set in the backdrop of colonial or regional struggles, the bar for quality storytelling, acting, and production design is often set quite low. It’s rare to find a film that strikes the right balance between historical accuracy, emotional depth, and gripping storytelling. In Chhaava, a film that chronicles the life of Sambhaji Maharaj, the son of the iconic Chhatrapati Shivaji Maharaj, there are moments of brilliance, but they are overshadowed by a series of shortcomings that prevent the film from becoming the compelling epic it aspires to be.

A Historical Saga: The Setting and Plot

Chhaava, directed by Laxman Utekar, is based on the Marathi novel Chhava by Shivaji Sawant, and it takes us back to the period of 1681 to 1689, a time when the Maratha Empire, under Shivaji’s son Sambhaji, was fighting against the mighty Mughal forces led by Emperor Aurangzeb. After the death of Shivaji Maharaj, the Mughals, who had long been trying to crush the Marathas, believed they had broken the backbone of the Maratha resistance. However, Sambhaji’s rise as a fierce warrior sends shockwaves through the Mughal camp. His bloody conquest of Burhanpur and his defiant stand against the Mughal forces are the backbone of this drama.

While the story is rooted in historical events, the way it unfolds is a bit of a mixed bag. The film attempts to portray the intricacies of Sambhaji’s character and his relationships, but the narrative often feels disjointed and, at times, uninspired. The action, while intense, lacks the gravitas needed to elevate the stakes, and the film often relies on loud, simplistic tropes rather than offering nuanced portrayals of the people involved.

The Flaws: A One-Dimensional Story

One of the film’s biggest drawbacks is its simplistic storytelling. While Chhaava tries to depict the complexities of war, leadership, and familial bonds, it falls into the trap of oversimplifying these themes. Sambhaji’s character is portrayed as a valiant warrior, but there is little depth beyond his martial prowess. The film paints him as a man of strength and courage, but his internal struggles, his complexities as a ruler, and his human vulnerabilities are barely explored.

The film’s characters are largely one-dimensional. We have the valiant king (Sambhaji), the devoted wife, the evil Rajmata, and the backstabbing courtiers—characters whose motivations seem to follow predictable paths. In fact, Chhaava could have easily been a tale about any Rajput warrior, given how generic the structure is. The film also takes the easy route of resolving every war obstacle with the chant of “Jai Bhawani,” which adds little to the narrative. While the film boasts battle sequences in unique locations like marketplaces, jungles, and sugarcane fields, the action choreography leaves much to be desired. There is little escalation in the fight scenes, which are often reduced to slow-motion shots of Sambhaji flexing his might. As the film progresses, these sequences become repetitive and exhausting rather than thrilling.

Action Sequences and Cinematic Style

Though the film does have some memorable set pieces, the action sequences are underwhelming. In the second half of the film, battle scenes are stacked one after another, creating a sense of monotony. While Sambhaji’s heroic feats—such as swinging from treetops or bursting out of lakes—are intended to highlight his bravery, they feel less like a display of skill and more like an effort to show off visual effects without any real emotional or narrative impact. These action beats, meant to awe the audience, instead leave them asking for more depth in the storytelling.

The film also struggles with pacing. After a slow start and a middle section that drags, Chhaava finally picks up steam towards the climax. The moment when Sambhaji, wielding a log, charges through a sea of Mughal soldiers might evoke memories of a zombie apocalypse film, but it does offer a sense of scale. Unfortunately, that impact is short-lived, as the film quickly returns to its formulaic and predictable style.

Loud, Yet Emotionless: The Emotional Disconnect

One of the more frustrating aspects of Chhaava is its inability to effectively evoke emotional depth. While the film is loud and proud in its portrayal of Sambhaji’s bravery and the Maratha resistance, it struggles to establish any real emotional connection. In the latter part of the film, we see Sambhaji subjected to brutal torture at the hands of Aurangzeb, with his nails ripped out and his eyes gouged out, a scene that is meant to be a harrowing moment of martyrdom. However, the intensity of the torture is undermined by the lack of emotional depth. The audience is simply too exhausted from the constant barrage of action and melodrama to feel any real sympathy for the character.

Furthermore, the film often relies on blaring background music, religious chants, and loud war cries to heighten the emotional stakes. While this might work in short bursts, the constant noise becomes overwhelming, drowning out any potential for a more subtle or profound emotional experience. The lack of nuance in both the storytelling and the performances leaves the audience with little more than a sense of exhaustion rather than a stirring sense of patriotism or loss.

The Performances: Some Standouts, but Overall Underwhelming

While Chhaava falters in many areas, its cast delivers performances that range from competent to impressive. Vicky Kaushal, in the role of Sambhaji, gives a solid performance. His portrayal of the warrior king is convincing, and he brings a sense of gravitas to the role, though his character lacks the emotional complexity to make him truly memorable. Kaushal excels in the physical aspects of the role, roaring like a lion in battle, but he is let down by a script that doesn’t allow for much nuance.

The standout performance, however, comes from Akshaye Khanna, who plays Aurangzeb. His portrayal of the Mughal emperor is chilling and effective, with Khanna using his icy gaze to communicate more menace than any amount of dialogue could. His restrained performance contrasts sharply with the loudness of the rest of the film, making him a welcome presence whenever he appears on screen.

Rashmika Mandanna, as Maharani Yesubai, gets more agency than queens in similar films, but her role still feels secondary. The characters of Divya Dutta and Neil Bhoopalam, though brief, leave a lasting impression, but their characters’ journeys are underdeveloped, given their acting talent.

On the other hand, Ashutosh Rana, playing Sarsenapati Hambirao Mohite, is largely wasted in a role that amounts to little more than a loyalist figure whose death fails to evoke any real emotional response.

Final Thoughts: A Missed Opportunity

Ultimately, Chhaava is a film that could have been much more than it is. The historical setting, the compelling real-life characters, and the potential for deep emotional resonance are all present. However, the film fails to make full use of these elements, instead opting for loud spectacle over subtle storytelling. While the film is competent in its production design and performances, it never quite achieves the emotional or dramatic heights it aspires to.

For those looking for an action-packed historical drama with a solid performance by Vicky Kaushal and a chilling turn from Akshaye Khanna, Chhaava might still offer some entertainment. However, for those hoping for a deeply moving portrayal of Maratha valor and the complexities of Sambhaji’s leadership, the film is ultimately a missed opportunity.