Pitched on a grand scale and boasting of a stellar cast, including Akshay Kumar, Samrat Prithviraj falls short on many fronts while feigning to be socially correct

Nonika Singh

While we are tempted to agree with Akshay Kumar that great warrior and Rajput King Prithviraj Chauhan is a footnote in our history books, and undeniably deserves more, but as he leaps on to the silver screen in a two hour plus film, we emerge none the wiser! Or more knowledgeable.

As the title Samrat Prithiviraj suggests, it is an out-and-out ode to the ruler of Ajmer and Delhi (latter part of the12th century), whom we best remember for eloping with beautiful princess Sanyogita. Here, the romantic fable is not so much in the foreground but woven in with a few romantic moments and songs. Clearly Chandraprakash Dwivedi’s intentions are not merely to recount the epic love story. So right from the beginning Prithviraj’s bravery occupies centre-stage, as we see a blinded him fighting lions and more in an amphitheatre typical Gladiator style.

In fact, the narrative is so consumed with edifying its hero’s courage that there is little nuance or layering to his character. Akshay Kumar in the titular role is hemmed in by the limited scope the writing offers. Surprisingly, other characters are fleshed out better. Sanjay Dutt as his mentor Kaka Kanha seems to have lost none of his charismatic presence and truly roars as an ageing brave-heart. Sonu Sood as Prithviraj’s court poet, astrologer and companion Chand Bardai, has a meaty part wherein he pitches an equally robust performance. Even when he fawns over his king unabashedly, he does not put you off. The same, however, can’t be said about the film which turns a wee bit dramatic, all too often. Certainly the visual language is rich, though don’t expect the grandeur or aesthetics of the kind Sanjay Leela Bhansali can create.

Nevertheless, Dwivedi, does get the war scenes right. Can the same be said about the historical veracity? Well, it is true that Prithviraj did lead a coalition of several Rajput kings and defeated the Ghurid army led by Muhammad Ghori near Taraori in 1191 AD. In the film, to glorify his valour further, he lets Ghori walk free after arresting and imprisoning him. Why? The answer lies in some more adulatory comments by Chand Bardai.

Historically correct or not the film’s storyline primarily based on Prithviraj Raso, a Braj language epic poem, does feign to be socially correct apart from wearing Hindu nationalistic sentiments up its sleeve. So before we can protest over an over-dramatised Jauhar scene, we are made to believe that Prithviraj championed women’s rights and even made his other half rule. The lovely Manushi Chhillar sure makes an assured debut. As Sanyogita, she gets an opportunity to flex her acting muscles and has a few standalone moments.

Ashutosh Rana and Sakshi Tanwar’s cameos as Sanyogita’s parents, one a traitor the other empathetic (no prizes for guessing right who is what) are impressive too. Manav Vij as Muhammad Ghori does not evoke the necessary repugnance the narrative intends to.

As a Muslim marauder, who we are reminded destroyed Somanth temple, he is not menacing enough (we don’t know if that is intentional). Rather he is saddled with lines that justify his treacherous ways and why he thinks Prithviraj’s reasons for war are just.

To be just to the film, edited well by Aarif Sheikh, holds your attention and keeps you invested as it stays focused in retelling the glory of its protagonist, even though the film is not glorious enough. Even the song Raktapaat Raktapaat Dehke, Shaktipaat Shaktipaat Chamke, Aisa Ek Prithviraj Jaise Gokul Mein Ho Mohan and Aisa Ek Prithviraj Jaise Kurukshetra Mein Arjun does not uplift your spirits.