Review: Samrat Prithviraj (2022)
A fanciful depiction of history, draped in the glossiest finery is what sums up Samrat Prithviraj. Written and directed by Dr. Chandraprakash Dwivedi, this period drama sees Akshay Kumar, play Prithviraj Chauhan, the 12th Century ruler of Ajmer who was the last Hindu ruler of India.
The principal aim of the film is to highlight the virtues of a Hindu warrior-king who is committed to his dharma (religion) and watan (country). The good Samrat-bad Sultan construct constitutes the core of the film, and only two-three instances of the ruler’s life are encapsulated in the film.
The film opens in a Rome-like gladiator colosseum in Ghazni, Afghanistan under the rule of Sultan Mohammed Ghori. In the film’s opening itself, we are already introduced to Prithviraj Chauhan, the righteous, benevolent, and all for female empowerment ruler, who fights lions in the honor of a ‘naachnewali’ for the first ten minutes.
However, post these ten minutes, the character does not change. There is absolutely no character development in the two and a half hours of the film. Not only him, none of the other characters are given space for their arcs to develop.
Akshay Kumar and Manushi Chillar in a still from the film.
Manushi Chillar, who makes her debut in the film playing Queen Sanyogita, tries her best to emote, however, her character doesn’t have any chance to develop. She talks to her parents and her maids with the same straight face that she talks to the elder men in Prithviraj’s court. Finer details in her character of the 12th Century princess is what brings her character down. She adorns low waist lehengas, and sweet heart necklines – right out of the latest Sabyasachi collection! Her dancing skill is the only thing that acts as the major saving grace for her character.
The only saving grace character-wise this film has to offer is Ashutosh Rana, who acts as the Kannauj king Jaichand. Rana expertly conveys the jealous, cruel heart of a treacherous king. Sonu Sood, who plays the poet Chand Bardai, who wrote the poem Prithviraj Raso, on which the film is based, is also terrific in his role. Also more human, was Manav Vij who played Mohammed Ghori.
The films battle scenes looked stylish but reminded me a lot of the Baahubali action sequences as compared to a historical war scene. Arrows fly 360 degrees in the air, Prithviraj dodges arrows and spears like Neo from Matrix. Sanjay Dutt, who plays Kaka Kanha, pulls the feet of an elephant with a rope, making the Sultan tumble to the ground. I would have marvelled at the camera work and dusty, slick action, but medieval battles are supposed to be gory and there is not a single drop of blood on the battlefield.
The film, which also delivers a lecture on feminism and women empowerment is exaggerated beyond level. The Queen talks back at elder men in the court on how she deserves a place in the court, way before Razia Sultan took over the throne in Delhi.
The film overall, however, is visually stunning – the camera work by Manush Nandan, and the production design by Sabrata Chakraborty and Amit Ray definitely act as the saving grace of the film, who’s writing and the characterisations let it down.
Post Prithviraj Chauhan, The Delhi Sultanate was formed by Qutubuddin Aibak in Delhi, after which came to Mughals. However, Samrat Prithviraj ends with slates that tell us that there was no other Hindu ruler till India got independence in 1947. As a historical film, post Prithviraj a brief history (even if it is a line) on the formation of the Delhi Sultanate would have helped complete the circle of the period drama.
