Broad but cautious canvas
Film: Raja Shivaji
Cast: Riteish Deshmukh, Sanjay Dutt, Abhishek Bachchan
Directed by: Riteish Deshmukh
Duration: 3 hours 7 minutes
Rating: * *
Raja Shivaji — written, directed, and produced by Riteish Deshmukh — has released in both Hindi and Marathi. Interestingly, history repeats itself: back in 1952, the legendary Bhalji Pendharkar made Chhatrapati Shivaji, which was also released in both languages (and featured a cameo by Lata Mangeshkar). This new film similarly features a cameo by a major star, which stands out as one of its highlights, though the film itself otherwise follows a fairly predictable path. Worth noting: the Marathi version runs eight minutes longer than the Hindi cut I watched, though the nature of those additions remains unclear.
The life of the great Maratha warrior king, who fought to establish ‘Swarajya’ (self-rule), is widely celebrated, and is more than worthy of a biopic. However, for those seeking depth, the subject is already extensively covered through literature, theatre, and cinematic references, which leaves this film with limited room to offer anything new. Despite being a big-budget production, even accounting for its unconvincing VFX, the filmmakers have chosen to play it safe, sticking to the bare essentials of story and storytelling, while catering to mainstream tastes. Ranveer Singh’s slow-motion sequences in an action film like Dhurandhar was understandable given Bollywood’s penchant for style, but Raja Shivaji features an equal if not greater number of such shots, contributing to a runtime that stretches past three hours.
Much like Dhurandhar, the film is structured in titled chapters — ‘Blood and Ashes’, ‘Nemesis’, ‘Elephant’s Move’, ‘King’s Gambit’ — and opens in 1629, a year before Shivaji Maharaj’s birth. This opening section establishes the complex political landscape of the era: the Mughals under Shah Jahan, the Nizam, the Sultanate of Bijapur under Adil Shah, and the Marathas led by Shahaji Bhonsale (Sachin Khedekar), Shivaji’s father, who served under Adil Shah. The kings of the time were locked in constant conflict, each seeking to expand their dominions; a facet of history far less familiar to audiences than Shivaji’s own legend.
It takes nearly an hour before the adult Shivaji (Riteish Deshmukh) appears on screen. He shares a close bond with his elder brother Sambhaji (Abhishek Bachchan), under whose tutelage he grows up learning warfare and statecraft. His introductory sequence, however, is excessively long, drawing out until swords, arrows, and spears have been thrust into every conceivable part of the human body. The threshold for on-screen violence, it seems, keeps rising.
The political intrigue between kingdoms continues throughout. Amol Gupte plays Adil Shah, a man with an unusual fondness for pigeons, who is frequently manipulated by his begum (Vidya Balan). We also see Shivaji’s marriage to Sai (Genelia Deshmukh), with the couple given their obligatory share of screen time.
Simmering in the background is Afzal Khan (Sanjay Dutt), consumed by his desire to destroy the Marathas, and Shivaji in particular. The film builds to its climax with the famous duel between the two at the foothills of Pratapgarh Fort in 1659 that was made popular by Amar Chitra Katha. The last stretch is when the film picks pace and comes into its own.
Shivaji Maharaj’s life was rich with defining moments beyond this encounter — the Battle of Pavan Khind, the siege of Panhala, and his conflict with the Mughals culminating in the Treaty of Purandar — but the film opts for the more cinematically dramatic Afzal Khan showdown as its endpoint. Equally overlooked are his architectural achievements: Shivaji Maharaj not only captured numerous forts but personally designed several from scratch, including those at Sindhudurg and Pratapgarh.
The production values are evident, though one wishes the film leaned less heavily on digital effects. Cinematographer Santosh Sivan’s restless camera attempts to place the viewer right in the heart of the action, bringing an immersive quality to the battle sequences.
The supporting cast is a roll call of familiar faces: Bhagyashree as Jijabai, Mahesh Manjrekar as Lakhuji Jadhav, Boman Irani as a spiritual figure, and Fardeen Khan as Shah Jahan. While it remains a commendable production, for a king who never played it safe, it’s a pity the film made in his name does exactly that.
Is That All?
Film: The Devil Wears Prada 2
Cast: Meryl Streep, Anne Hathaway, Emily Blunt
Directed by: David Frankel
Duration: 1 hour 59 minutes
Rating: * * *
The hardest part of making this sequel to the thoroughly enjoyable 2006 original was probably getting the cast together — once Meryl Streep, Anne Hathaway, and Emily Blunt were signed on, the film was essentially sold. The screenplay, however, tells a different story: it feels like an afterthought. The film is charming, and the trio, along with the supporting cast, is a genuine pleasure to watch, but there’s little beneath the glossy surface. Unless name-dropping Gucci, Chanel, and their ilk is enough to keep you entertained, don’t look for much more.
Fans of Miranda Priestly (Meryl Streep) and her former assistant Andy (Anne Hathaway) from two decades ago will find this a breezy reunion. Remarkably, neither actress appears to have aged a day, nor the same goes for Emily Blunt and Stanley Tucci.
The film opens with Andy, now a high-profile journalist, receiving a notification that her publication is shutting down, moments before she steps on stage to accept an award. Her acceptance speech touches on journalistic integrity and the broader crisis facing print media as digital continue its takeover. Downsizing, she notes, has become an industry-wide reality, with fewer people expected to carry ever-heavier loads.
Miranda, meanwhile, remains the reigning authority at ‘Runway’ magazine, though the empire is showing cracks; a sweatshop exposé has blown up in her face, and her long-awaited promotion to global head is now on hold. Newly unemployed, Andy finds herself back in Miranda’s orbit, this time as Features Editor, with her old mentor Nigel (Stanley Tucci) still in the building.
Returning to familiar characters and settings is a double-edged sword in cinema. The novelty is gone, but there’s a quiet comfort in catching up with people you already know. David Frankel, who directed the original, is back at the helm, though this time, instead of following Andy find her footing, the film tries to weave together a web of characters with varying degrees of success. Emily Blunt appears as a senior executive at Dior, engaged to Benji Barnes (Justin Theroux), who happens to be the ex-husband of Sasha Barnes (Lucy Liu). Some of these connections feel strained, but none more so than the romantic subplot between Andy and a real estate agent; a thread so inconsequential it could have been cut entirely without anyone noticing. On the sidelines, Miranda has a new husband, Stuart (Kenneth Branagh), a classical musician, and in keeping with the franchise’s love of spectacle, the second half relocates to Milan.
The film’s real pleasure lies in its characters. Miranda still says exactly what she thinks, though the boardroom demands a degree of diplomacy that doesn’t sit naturally with her, and watching her navigate that tension has its moments.
Ultimately, what saves the film is its cast. These are actors good enough to elevate almost any material and they do. Streep commands every scene she’s in, as much through a well-timed silence as a perfectly delivered line. Hathaway is warm and reliably compelling as the perpetually tested Andy. And Tucci, as always, brings more weight to his role than the writing deserves. And that, really, is about all there is to say or, as Miranda would say, “That’s all.”
