A Tale of Valor, Betrayal, and Tragedy
The Marathi term for a lion cub is ‘Chhava,’ a fitting title for a film based on the life of the valiant Maratha warrior Sambhaji. If you have read the legendary historical novels Mrityunjay and Yugandhar by Shivaji Sawant, you would know that the author had an exceptional talent for blending facts with fiction. However, in the case of the film Chhava, one might wonder how much of its narrative is drawn from historical truths and how much is artistic liberty. The film primarily portrays Sambhaji as a fierce warrior, constantly engaged in battle, frequently changing disguises, and showing no mercy to his enemies. Meanwhile, the Mughal emperor Aurangzeb is seen relentlessly pursuing him from Delhi.
The story revolves around the nine-year-long struggle between Sambhaji and Aurangzeb, spanning from 1680 to 1689. It is a tragic tale—one that goes beyond sorrow and delves into sheer brutality.
An Excessively Graphic Climax
Before deciding to watch this film with children or family, consider twice. While the entire movie glorifies Vicky Kaushal’s portrayal of a valiant and ferocious warrior, the climax plunges into extreme brutality, reminiscent of The Passion of the Christ, where Jesus Christ’s crucifixion was depicted in excruciating detail. Aurangzeb is repeatedly humiliated in the film, being referred to mockingly as ‘Aurang.’ His son Akbar is portrayed as someone eager to support Sambhaji in the fight for Swaraj but is hindered by his father’s tyranny. Aurangzeb’s daughter is depicted as an even more ruthless antagonist, who takes sadistic pleasure in torturing Sambhaji after capturing him.
Betrayal by Sambhaji’s Own Family
The climax reveals some hard-hitting truths. First, that life is only as significant as we choose to make it, and living with dignity is far better than pleading for mercy. This is echoed in a powerful line by Aurangzeb’s daughter, who remarks that Sambhaji celebrated his own death while leaving them to mourn their own lives. Second, the film highlights how Sambhaji was betrayed by his wife’s brothers. Not just them, but many Maratha nobles also turned against him. One of the lesser-known historical facts brought forth is that Shivaji’s second wife, Soyarabai, was desperate to see Sambhaji fall and even went so far as to write letters to Aurangzeb to ensure his downfall.
Vicky Kaushal’s Stellar Performance
When discussing Vicky Kaushal’s acting prowess, Chhava will undoubtedly be a part of the conversation. Kaushal’s passion for playing historical characters is evident, and he has once again transformed himself physically and emotionally for the role. Director Laxman Utekar has leveraged Kaushal’s commitment to the craft effectively, much like the actor’s previous performances in Sardar Udham and Sam Bahadur. This film might earn him yet another National Award. However, Chhava remains focused on its battle sequences. When Sambhaji is not fighting, he is either haunted by childhood nightmares or seen sharing intimate conversations with his wife, Yesubai.
Divya Dutta Outshines Rashmika Mandanna
Rashmika Mandanna plays the role of Yesubai, a Maratha queen. She seems to be increasingly cast as the companion of fierce warriors, evident from her roles in Pushpa, Animal, Pushpa 2, and now Chhava. Her character primarily revolves around traditional duties—welcoming the king back from battle, offering him protective charms before he leaves for war, and evoking sympathy with tearful eyes. She does have a moment of authority when she orders a disruption in the enemy’s supply chain, but that’s about it. In contrast, Divya Dutta delivers a more compelling performance as Soyarabai, Shivaji’s second wife. She is determined to see her son ascend the throne, and her calculated moves set the stage for the film’s climactic events. The buildup is akin to Aurangzeb’s own actions—halfway through the movie, he is seen knitting, as if weaving the threads of fate, until either the yarn runs out or his plans unravel.
Vinay Singh as Poet Kalash: A Standout Supporting Role
Among the supporting cast, Vinay Singh shines the brightest as Kalash, Sambhaji’s court poet. With dialogues penned by Irshad Kamil, he delivers a powerful performance. Kalash fights alongside Sambhaji in battle and is one of the few Marathas who accompanies him to Aurangzeb’s captivity. However, the poetic duels between them lack the intensity one might expect, and their loud, dramatic exchanges could have been more restrained. Ashutosh Rana, despite his acting prowess, is underutilized in the role of a general who barely engages in tactical warfare. Diana Penty’s presence seems merely to balance the screen with Akshaye Khanna, who, as Aurangzeb, impresses with his prosthetically aged appearance and intense expressions. His performance might set a new benchmark for villainous portrayals in Bollywood.
A.R. Rahman’s Disappointing Score
The film’s weakest link is its background score. The music feels generic, as if pieced together from stock tracks. A.R. Rahman’s magic appears to be fading, and his recent work lacks the brilliance he was once known for. The only strong reasons to watch Chhava are Vicky Kaushal’s powerhouse performance and Akshaye Khanna’s intriguing portrayal of Aurangzeb. Unfortunately, the cinematography is lackluster, and the production design is so poor that wooden panels on the set are clearly visible. The action choreography sees some improvement in the climax, borrowing elements from 300, but for most of the film, it feels like a throwback to Ramanand Sagar’s Ramayan or B.R. Chopra’s Mahabharat.
Final Verdict
Approach Chhava with caution. The extended climax is emotionally and visually intense. If at any point you feel overwhelmed, stepping out for a breath of fresh air might be a good idea. The film is a spectacle of bravery, betrayal, and tragedy—one that will leave an impact, but not necessarily for the right reasons.
