No bodily history.

No bodily history.

It is a difficult task to present the biography of Emperor Prithviraj Chauhan who killed a foreign invader like Muhammad Ghori.

Reshma Raikwar

It is a difficult task to present the biography of Emperor Prithviraj Chauhan who killed a foreign invader like Muhammad Ghori. Basically, the historical references about Prithviraj are scattered in various literatures. Therefore, the study of this context in detail and will develop with such force, was the expectation of the car ‘Chanakya’ Chandra Prakash Dwivedi. In fact, we are seeing one of Yashraj’s love stories cast in historical clothing. No body story, no love story, nowhere does this movie come true.

The story of the movie ‘Samrat Prithviraj’ is based on the poem ‘Prithviraj Raso’ by Prithviraj’s court poet Chand Bardai. In the film based on this poem, Prithviraj’s first battle against Muhammad Ghori in Terai, Ghori’s defeat, Prithviraj’s gift of life to the captive Ghori and the power of Delhi gained due to this incomparable feat are elaborated. At the same time, in a parallel shot, the love story of Sanyogita, daughter of King Jaichand of Kanoja and Prithviraj, is also painted. The story of these two who fall in love without actually seeing each other grows from the letters they send each other. In the end, the fight between Jaichand and Prithviraj, which began with the ruling party in Delhi, ended. Some of the events of history resemble these stains that will never fade, lurking within. After all, Prithviraj’s sacrifice was taken not because of Ghori’s prowess, but because of internal rebellion for the love of power. The fact that domestic violence is more often the cause of domestic violence than external aggression is also highlighted in the movie ‘Emperor Prithviraj’. Chandra Prakash Dwivedi’s style of fearlessly presenting the truth as a writer and director is evident here. However, if he wishes to recall the detailed and influential historical series like ‘Chanakya’ written by Dwivedi many years ago when there were no facilities, then ‘Emperor Prithviraj’ could not even dare to turn it around.

As mentioned above, the movie is based on the poem ‘Prithviraj Raso’. And this poem written by Chand Bardai is full of exaggeration, the historical references it contains cannot be accepted as accurate. Apart from that, many incidents in the context of Prithviraj, the story is scattered in various pieces of literature of that time and is told in different ways, it is also mentioned in a few places. All this reference is not here to verify the authenticity or falsity of the film, but basically a detailed study of Prithviraj’s personality, body language and thoughts was required while portraying him on the big screen, which does not feel in the film. The story of this film was written ten years ago. Has the contradiction between the fact that the producer and production company have been filming in recent years and the very short time that the filming itself takes affect the film? There is room for doubt.

When telling the story of a great king, his love story, his bravery, the basic need is to build everything into a good script. The rest is a wave of historiography, with its fixed pattern. The determination to handle it accordingly has proven fatal for the film. The wrong choice of actors has added to that. Akshay Kumar is strong as an actor and although he has worked hard for the role, he doesn’t seem to be effective anywhere like Prithviraj. Sonu Sood, who is standing behind Akshay, draws more attention. This is Vishwasundari Manushi Chillar’s first film as an actress in the role of Sanyogita. She has the confidence to be in front of the camera, but she will have to work harder when it comes to acting. A person expressing anger and love in a straight line with a straight face doesn’t have much of an effect. The costumes they gave her, the dances they painted for her, the lyrics of the songs, everything seems to be contemporary. Nowhere does the historical context seem to be noted. Her hit has also hit the movies. Considering the cast and characters, the change in human power in Ghori’s role is gratifying. Ghori, created by a human being who doesn’t scream anywhere on the telegraph, without showing any kind of savagery-violence, feels more real. It is a privilege to see actor Ashutosh Rana in a strong role as Jaichand. Despite a few moments and a few sentences, actress Sakshi Tanwar has played both Jaichand’s loyal wife and the intelligent and feminine mother of her daughter. Coincidentally, her speeches on women’s rights and freedoms, after a few moments of vivacity and becoming queen, weigh heavily on the feelings expressed by the witness only through her eyes and actions. Uncle Kanh, played by actor Sanjay Dutt, isn’t very good at writing, but his acting easily outclasses him.

The film manages to entertain as well as inform. VFX seems to have linked various occasions, from riding a horse to doing two hands with a lion. Due to the excessive use of technique, the time spent on the love story, neither the love story nor the love story… this movie ends in such a strange mess.

Emperor Prithviraj

Director: Chandra Prakash Dwivedi

Cast: Akshay Kumar, Manushi Chillar, Sonu Sood, Sanjay Dutt, Ashutosh Rana, Manav Vij, Sakshi Tanwar.

Website title: akshay kumar history muhammad ghori foreign invaders emperor prithviraj chauhan biography barely performance ysh

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