After a stellar run in theaters, Vijay Sethupathi’s 50th film, Maharaja, is making a solid impact on OTT platforms. With its gripping story and powerful performances by Vijay Sethupathi and Anurag Kashyap, the film is drawing huge audiences on Netflix.
Viewers who missed it in theaters are now flocking to watch it, and many are praising it as one of the year’s best films. The film is currently among the most-watched on OTT and is trending at the top on Netflix.
However, Maharaja is facing some criticism from a section of viewers.
One critique points out that using sexual assault as a plot device should be handled with sensitivity and not just as an emotional trigger or sensational content. The criticism argues that if the violence is used to showcase a hero’s strength or to shock the audience, it detracts from the seriousness of the issue.
The reviewer feels that the depiction of sexual violence in the film is excessive and unnecessary, highlighting that such scenes should not be overemphasized with disturbing visuals or background scores. They also criticize the film for its portrayal of violence and suggest that it misses the mark by focusing more on shock value than on meaningful storytelling.
They praised films like Gargi and Chiththa for addressing violence with a more respectful approach, evoking empathy, and sparking important conversations without sensationalism.
Despite the valid points raised, it’s important to recognize that Gargi and Chiththa didn’t achieve significant commercial success. Cinema often involves a balance of art and commerce. While sensationalism might draw more viewers, Maharaja remains a compelling film within its commercial limits.
The film tells its story from a father’s perspective and portrays the survivor’s strength and determination to continue pursuing her goals despite the horrendous incident in her life.
Cinema is cinema! If we impose radical righteousness on art, the theaters will be empty. The ‘woke’ and ‘cancel’ culture of today’s generation shouldn’t go overboard, as it might kill creativity and, consequently, cinema.
