A pervasive sense of foreboding permeates the films of director Nithilan Saminathan, and his latest undertaking, “Maharaja,” is no exception. Saminathan’s cinematic world is one where even the most morally upright individuals are liable to corruption when confronted with the baser instincts of humanity. The film presents ordinary characters twisted into grotesque versions of themselves, like a gang of burglars who not only rob homes but indulge in cooking meals amidst their sinister proceedings.
While it’s not novel ideas or unique scenarios that drive the film, it’s the execution and meticulous craft that capture the audience’s attention. Nithilan’s detailed writing paints a picture where malice is exhibited in its most mundane form. This is evident from the moment we meet Selvam, played by Anurag Kashyap; he casually chats about onions in a kitchen while the camera slowly zooms out to reveal women tied up nearby—a scene reminiscent of the opening in Nithilan’s 2017 debut, “Kurangu Bommai.”
This similarity is no accident; Nithilan often revisits his tropes, hinting at the specific filmmaking style he aims to perfect. He infuses uncertainty into his narrative by introducing random, life-altering events—be it a ceiling fan falling, an unexpected snake, or a lorry crashing through a wall. These elements serve to keep the audience in a state of constant suspense, playing with timelines and introducing motifs, such as the now-iconic trash can in “Maharaja.” Much like the monkey-faced bag from his first film, this trash can isn’t just a prop but a symbol questioning the arbitrary value we assign to things.
The characters in “Maharaja” come with their own idiosyncrasies, contributing to the film’s dark humor. A merciless killer partakes in street cricket with kids, while a gangster in the film, a hardcore fan of actor Kunal Singh, beats up a man for the trivial offense of not watching “Punnagai Desam” and losing sunglasses gifted by the late actor. Kalki Raja, who played a thief in “Kurangu Bommai,” returns as another thief, ironically nicknamed ‘Police’, who specializes in stealing TVS 50s because he can’t ride geared vehicles.
Steeped in dark humor, the film’s story kickstarts with Vijay Sethupathi’s character, Maharaja, who enters a police station with a peculiar complaint. With a bandaged ear, he reports that his house was robbed the previous night, and he lost a valuable item—his iron-made trash can named ‘Lakshmi,’ which once saved his daughter’s life.
. Maharaja even offers Rs. 7 lakhs to the Inspector of Police, Varadharajan (Natty), signaling that there’s more to this complaint than what meets the eye. Intrigued and hoping to outsmart Maharaja, Varadharajan and his associates take the bait.
The film’s narrative oscillates between scenes at the police station, incidents involving Maharaja’s teenage daughter, the sinister activities of Selvam (Kashyap’s character), and flashbacks that piece the story together. Nithilan exhibits his skill as a writer by intricately connecting these elements while ensuring meticulously planned setups and payoffs. For instance, there’s a shot of Varadharajan’s family and a scene where Maharaja steps out to shop, only for the store to be conspicuously located opposite his house.
Despite the elaborate plotting, certain conveniences in the screenplay—especially in the latter parts of the film—become noticeable. The most significant flaw lies in the final act, where Nithilan’s carefully crafted tension culminates in a turn of events designed for a specific audience reaction. Unfortunately, the cliched nature of this climax, a staple in Tamil cinema, nearly jeopardizes the entire narrative. It makes one question if all the accomplished world-building and character development were merely a setup for a conventional revenge thriller.
However, the film’s saving grace is Vijay Sethupathi’s extraordinary performance. Embodying his character with remarkable ease, Sethupathi delivers several memorable scenes, solidifying his position as one of the most compelling actors in contemporary Tamil cinema. Even amidst Anurag Kashyap’s distracting lip-syncing issues, Sethupathi’s portrayal of Maharaja stands out, making his 50th film outing a noteworthy milestone.
“Maharaja” underscores Nithilan Saminathan’s prowess as a serious filmmaker, demonstrating his ability to turn even a timeworn concept into an engrossing cinematic experience. For those seeking a layered narrative peppered with dark humor, “Maharaja” offers a thought-provoking watch, currently running in theatres.
