Laxman Utekar’s directorial Chhaava focuses on building up on Sambhaji Maharaj’s tales of heroism with slow-motion action sequences and dialogues backed by heavy music. Still, Vicky Kaushal’s performance adds agency to the character and urgency to the plot. The film explores parts of the long story while also building on the world around it, introducing the historic era and Indian warriors of the time. Akshaye Khanna’s Aurangzeb is one of the key performances that keeps the film hooked but we needed a bit more from the roots of the story.

Chhaava begins with a long narration of Sambhaji Maharaj’s family, and the tales of valour of his father Shivaji Maharaj and his grandfather Shahaji Maharaj. Narrated by Ajay Devgn, the same fills in the essence of the Maratha Swaraj as building blocks for the film. We do not get to see much of Sambhaji Maharaj’s childhood or his training for the throne instead, the makers added a few scenes showing how the memory of his late father always drove him in the right direction, meanwhile, his greed to know more about his mother and to make her proud kept him moving forward.

After a quick introduction of Aurangzeb’s celebration towards Shivaji Maharaj’s demise, the film introduces Sambhaji as the Chhaava of a Sher who doesn’t let his enemies forget that the warriors of Maratha Samraj are still around. The initial fight sequences are heavy on slow motion as well as a powerful background score, building on to the image of Vicky Kaushal’s character as a ruler filled with pride and honour. He is then coronated and takes an oath to fulfil his father’s wishes and keep the Maratha land protected and united. After Aurangzeb finds out about Sambhaji’s power a war lasting for decades kicks off between the two kingdoms.

Despite fewer numbers than the Mughal army, Maratha warriors take down more than half of their men as the war drags on for years. The film jumps from one location to another, with only loud music for background the film shows how the Maratha army won one after the other. On the other hand, Aurangzeb can be seen working on plans on how to counter the attacks. Unfortunately, the scenes get the audience to spend more time with Akshaye’s character and build a bond with him instead of a hero. The film’s run time gives Khanna more chances to show off his skills than Vicky’s character who is supposed to have more agency.

The climax of the film is long and focuses on the torturous execution of Sambhaji Raje. The 40-day torture sequence is wrapped up in several days from taking his nails out, blinding him to cutting off his tongue.

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The film on several occasions does double down on the stories heard in school about Shivaji Maharaj and his final battles with Aurangzeb along with how the latter respected him despite their rivalry. Another scene confirms how Sambhaji accompanied his father during the final battle and had to travel alone at a young age to throw off their enemies. Many of the supporting characters also add the charm that a historical film about a strong warrior is supposed to exude. Laxman Utekar’s direction and cinematography by Saurabh Goswami add urgency to scenes while also making the characters look royal, but the dialogues don’t do the same.

Rashmika Mandana does give her best but her soft tone doesn’t match up to the aura of Maratha queens of the past. Meanwhile, only certain lines from Vicky in Marathi bring the tone Maharashtrian fans must be waiting for. The chants of Har Har Mahadev and Jai Bhavani help sink in the theme of the film and the pride seeps in but the lack of use of Marathi and lack of Marathi actors is far too prominent. Despite the long run time, the editing doesn’t give the audience enough to connect with the characters and locations or the emotions of the war.

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Overall, the film brings the stories of Maratha warriors lacking from the big screen. It also presents a chance for more stories that will do better.

Cover artwork by Patrick Gawande/Mashable India