Group Discussion of Poetry

 Group Discussion of Poetry :

This blog is based on a group discussion. This task was given by Prakruti ma'am.

Group Members : Nishtha Desai

                                 Krupali Belam

                                 Bhumi Mahida

                                 Bhargav Makwana

Absent Members : Parthiv Solankiu

                                  Shatakshi Sarvaiya

Step 1: Based on the poem assigned to your group, discuss the thematic and critical aspects, and prepare one long and one short answer from the question bank.

In the Discussion we discussed the two poems, Eklavyam by Meena Kandasamy and Laughing Buddha by Praveen Ghadhvi.

Eklavyam :

This note comes as a consolation:

You can do a lot of things

With your left hand.

Besides, fascist Dronacharyas warrant

Left-handed treatment.

Also,

You don’t need your right thumb,

To pull a trigger or hurl a bomb.

1. Discuss the poem 'Eklavyam' by Meena Kandasamy.

Introduction

Meena Kandasamy’s “Eklavyam” is a politically charged and emotionally intense poem that reimagines the ancient tale of Ekalavya from the Mahabharata through the lens of Dalit consciousness, anti-caste resistance, and feminist radicalism. By retelling the myth from a subaltern perspective, Kandasamy exposes the historical and cultural mechanisms of exclusion, silencing, and oppression.

Thematic References

Caste and Exclusion :

The dominant theme in the poem is systemic caste-based exclusion. Ekalavya is denied formal education and recognition due to his birth. Kandasamy highlights how caste continues to function as a tool of social stratification, particularly in access to learning and self-advancement.

Silencing of Subaltern Voices :

Ekalavya’s sacrifice of his thumb, traditionally glorified as an act of devotion, is reinterpreted as a symbol of forced silence. Kandasamy presents this act as a brutal assertion of Brahminical control, reflecting the erasure of marginalized identities in both history and myth.

Reclaiming Identity :

By renaming the poem “Eklavyam” (using a regional or Dravidianized form), Kandasamy de-Sanskritizes the character and reclaims him for the oppressed communities. This gesture aligns with Dalit literature’s objective of reasserting identity and rewriting cultural memory.

Critique of Education as a Brahminical Institution :

The poem critiques how education is historically weaponized to maintain caste hierarchy. Ekalavya’s exclusion is not just personal but systemic—symbolic of how oppressed groups have been denied the means to empower themselves.

Resistance and Protest :

Unlike the submissive figure in Vyasa’s epic, Kandasamy’s Ekalavya is a voice of resistance. The poem channels anger, frustration, and a refusal to obey, portraying protest as a legitimate and necessary response to oppression.

Critical Aspects

Dalit and Ambedkarite Perspective :

Kandasamy’s poem draws from Ambedkarite ideology, particularly the critique of Hindu scriptures and their casteist codes. The poem, therefore, aligns itself with Dalit literature, which seeks to challenge the canon and recover suppressed narratives.

Postmodern Retelling :

The poem uses intertextuality by invoking a well-known epic and subverting it. It is a classic example of postmodern rewriting, where the author dismantles the authority of the original text and offers a counter-narrative.

Feminist Undertones :

Although the central character is male, the feminist voice of the poet is present in the tone—angry, assertive, and confrontational. Kandasamy’s feminist politics merge with her anti-caste stance, making the poem a double protest against patriarchy and caste.

Language and Form :

The poem is written in free verse, with a raw, unfiltered voice. There is no ornamentation, and the diction is direct, even aggressive. This stylistic choice reflects the poet’s intent to disrupt aesthetic expectations and foreground political urgency.

Subversion of the Guru-Disciple Tradition :

In Hindu tradition, the guru is revered above all. But here, Dronacharya is shown as an agent of caste cruelty, not wisdom. The poem deconstructs the idealized guru-shishya relationship, exposing it as conditional and discriminatory.

Conclusion :

Meena Kandasamy’s “Eklavyam” is not just a poem—it is a political intervention. It forces readers to re-evaluate cultural myths, recognize the violence embedded in tradition, and listen to the voices that history has tried to mute. Through this poem, Kandasamy gives Ekalavya not just a voice, but rage, power, and resistance.

2. Use of myth in Meena Kandasamy's  'Eklavyam'.

Myth as a Tool of Subversion

Kandasamy uses the myth of Ekalavya not to reinforce the values of obedience and sacrifice, but to expose the cruelty and hypocrisy behind them. In traditional tellings, Ekalavya’s cutting of his thumb is seen as a noble act of devotion. However, Kandasamy rewrites this moment as an act of forced submission—a violent silencing of a lower-caste prodigy. This reinterpretation turns myth into a site of resistance, giving voice to the marginalized.

Demythologizing the Guru

In Hindu culture, the guru is revered as sacred and infallible. Kandasamy uses myth to challenge this reverence, portraying Dronacharya not as a wise teacher but as an oppressor who enforces caste hierarchy. Through this reversal, the poem demystifies the guru-shishya tradition, showing it as exclusive and complicit in social injustice.

Myth Reclaimed for Dalit Consciousness

Kandasamy’s use of myth aligns with the Dalit literary movement, which often reclaims and rewrites ancient stories to reflect the lived experiences of oppressed communities. In “Eklavyam”, myth becomes a political weapon—a way to insert Dalit identity into cultural memory and assert that history must be viewed through the lens of social justice.

Symbolism of the Thumb

The thumb, in the poem, becomes a symbol of denied potential. It signifies how upper-caste authority suppresses merit when it comes from lower castes. Kandasamy’s retelling emphasizes that the removal of Ekalavya’s thumb was not a personal gesture, but a systemic act of violence to maintain social order.

Language and Naming as Mythical Strategy

Even the title “Eklavyam”—with a Tamilized or localized spelling—is a strategic mythic move. It reflects a rejection of Sanskritic dominance and a reclamation of regional, subaltern identity. This re-naming functions as a cultural decolonization of myth.

Conclusion

In “Eklavyam”, Meena Kandasamy transforms myth from a passive, sacred narrative into a critical, political commentary. She interrogates and reclaims a foundational myth of Indian culture to question casteism, systemic injustice, and educational exclusion. By doing so, she demonstrates that myth is not fixed or sacred—it is fluid and open to reinterpretation, especially by those whom history has long silenced.

Laughing Buddha :

(Full Moon day of Buddha's birthday)

There was an

Underground atomic blast on

Buddha's birthday-a day of

Full Moon

Buddha laughed!

What a proper time!

What an auspicious day!

Buddha laughed!

At whom ?

There was a laughter on his

Lips and tears in his

Eyes

He was dumb that day.

See,

Buddha laughed!

Explain the Significance of Laughing in the poem.

1. Laughter as Spiritual Liberation

The Laughing Buddha’s laughter signifies freedom from worldly attachments. His laughter is not mocking or superficial—it stems from enlightenment. Unlike ordinary laughter, which may arise from humor or irony, this is existential laughter, representing a state of peace beyond suffering, a condition where the self is no longer bound by desire, ego, or materialism.

2. A Challenge to Suffering and Materialism

In a world consumed by stress, grief, and consumerism, the Laughing Buddha becomes an icon of joyful resistance. His continuous laughter is almost paradoxical—it challenges the sorrow and seriousness of the modern world. Through this, the poem implies that spiritual wisdom lies not in sorrow or renunciation, but in acceptance and joyful detachment.

 3. Laughter as a Political Act

Read through a critical lens, the Buddha’s laughter may also represent a quiet rebellion. In a society marked by inequality and chaos, the calm, ever-smiling figure stands as a subtle, nonviolent protest against suffering and injustice. His laughter mocks the futility of greed and violence, making it a form of non-verbal resistance.

4. Inner Peace and Contentment

The poem portrays laughing as an outcome of inner balance. It implies that true laughter does not come from external entertainment but from spiritual fulfillment. The Buddha’s round belly and carefree posture emphasize abundance without possession, joy without reason, and happiness that originates from within.

5. Laughter as a Universal Language

In many cultures, laughter is a bridge it unites, heals, and transcends barriers. In the poem, the Buddha’s laughter is not exclusive it is open, contagious, and universal. It invites the reader to reflect: Can you also laugh like that? The poem thus becomes an invitation to transformation—to let go and live more freely.

Conclusion

In Praveen Gadhvi’s “Laughing Buddha”, laughter is not mere emotion—it is metaphor, message, and method. It is a tool for survival, a mark of enlightenment, and a profound act of hope. The poem elevates laughter from a mundane response to a deeply philosophical gesture—a symbol of peace, spiritual freedom, and joyful rebellion in the face of a chaotic world.

'Laughing' Write a note on the use of this word in Praveen Gadhvi's poem.

In Praveen Gadhvi’s poem, the word “laughing” is used as a central, symbolic motif that carries deep philosophical and emotional significance. More than a mere expression of joy, “laughing” becomes a metaphor for spiritual wisdom, inner peace, and resistance.

The Laughing Buddha, as the poem presents, is not laughing out of amusement or mockery. His laughter emerges from a place of enlightenment, detachment, and contentment. The repetition or emphasis on "laughing" signifies a state of bliss that is unaffected by worldly suffering or material desires.

Moreover, Gadhvi uses the word to contrast the Buddha’s still, eternal joy with the transient sorrows of the human world. The act of laughing becomes an act of defiance—a nonverbal way to confront pain, injustice, and existential anxieties with calm and compassionate resilience.

In this way, “laughing” transcends its literal meaning, functioning as a spiritual practice and a philosophical stance, encapsulating the essence of the Buddha's message: to rise above suffering through awareness, acceptance, and joyful detachment.

Step 2: Prepare a report of the group discussion addressing the following questions:

Our group, consisting of six members (four of whom were present), discussed both the assigned poems and the question bank. We divided the topics among ourselves so that each member focused on specific questions and poems. This helped ensure a clear and organized discussion. One unique approach we used was topic delegation, where each member briefly explained their assigned part to the group, allowing for deeper understanding and active participation.

Who led the discussion or contributed most to the discussion? Did everyone contribute equally?

There was no single leader in our group discussion, as everyone contributed equally.The balanced participation helped us understand the poems and questions more effectively through collective effort and mutual support.

Which points were easy and which ones were difficult for everyone in your group to understand?

Most of the points discussed during the group discussion were neither too easy nor too difficult. Some concepts required deeper thinking.

Step 3: Briefly present your learning outcomes from this activity.

Through this group discussion activity, we developed a better understanding of the poems and related questions. We improved our skills in collaborative learning, critical thinking, and interpretation of literary themes. It also enhanced our confidence in expressing ideas, listening to others' perspectives, and working as a team to analyze complex topics more effectively.

References : 

Desk, Explained. “Operation Smiling Buddha: The Story of India’S First Nuclear Test at Pokhran in 1974.” The Indian Express, 19 May 2023, indianexpress.com/article/explained/explained-history/operation-smiling-buddha-nuclear-first-test-pokhran-history-8616714.

The Project Gutenberg E-text of Laughter: An Essay on the Meaning of the Comic,  by Henri Bergson. www.gutenberg.org/files/4352/4352-h/4352-h.htm.

Movie review - Sitare Zameen Par

  Movie review  - Sitare Zameen Par

This blog is a movie review of Sitare Zameen Par, a film based on R.K. Narayan’s short story Crime and Punishment. This task was assigned by Megha Trivedi Ma'am.

Introduction of Crime and Punishment :

R.K. Narayan’s short story Crime and Punishment explores the complex relationship between a teacher and a mischievous student in a typical Indian setting. Set in the fictional town of Malgudi, the story reflects Narayan’s trademark style of blending humor with subtle moral questions. It centers on a home tutor who struggles to discipline a spoiled boy, only to find himself blackmailed and manipulated. Through simple language and everyday situations, Narayan raises important questions about authority, discipline, fear, and the consequences of one’s actions. The story is both engaging and thought-provoking, revealing the deeper psychological dynamics between adults and children.

Background of Sitare Zameen Par :

Sitare Zameen Par is a heart-touching Bollywood film that focuses on the emotional and psychological journey of a young boy struggling with learning difficulties. Directed by Aamir Khan, the movie sheds light on the challenges faced by children with dyslexia and the lack of understanding from parents and teachers. Through the compassionate efforts of an art teacher, the boy gradually regains his confidence and discovers his true potential. The film beautifully emphasizes the importance of empathy, creative teaching, and recognizing every child's unique abilities. Sitare Zameen Par is not just a story of struggle, but a powerful message about acceptance and support in education.

How does the movie portray the education system?

1. Rejection of Normative Pedagogy

Initially, Gulshan represents a conventional authority figure—task-focused, success-oriented, and emotionally distant. His struggle to connect with intellectually challenged players reflects the failure of mainstream educational systems to accommodate diverse cognitive and emotional needs. His discomfort mirrors how many teachers and institutions react to neurodivergent or differently-abled students—with impatience, confusion, or avoidance.

2. Recognition of Individual Needs

As Gulshan gradually understands his players' unique struggles—such as Guddu’s phobia—he shifts from a uniform training model to a differentiated and empathetic approach. This marks a transition from the “one-size-fits-all” education system to an inclusive framework that adapts to learners rather than forcing learners to adapt to the system.

3. Emotional Literacy and Alternative Education

The team’s journey emphasizes emotional growth, mutual trust, and experiential learning, which are often marginalized in traditional schooling. Gulshan himself becomes a learner, confronting personal fears and emotional blocks—symbolizing how teachers too must undergo transformation to educate meaningfully. His realization that “they were coaching him” critiques the hierarchical student-teacher dynamic and redefines learning as a shared, reciprocal process.

4. Success Redefined

Though the team loses the tournament, the film celebrates their progress and unity. This subverts the marks-and-medals mindset of formal education, arguing that true learning lies not in winning but in evolving, both personally and collectively. It repositions failure not as defeat, but as a necessary part of growth—an idea rarely accommodated in conventional classrooms.

5. From Exclusion to Belonging

The film imagines an education system where every learner—regardless of ability—is seen, heard, and valued. It critiques the systemic marginalization of those who don’t meet standard criteria and offers an inclusive vision grounded in compassion, diversity, and patience.

Conclusion

The movie presents an alternative educational philosophy—one that challenges rigid hierarchies, celebrates emotional connection, and acknowledges the mutual learning process between teacher and student. It advocates for an education system that moves beyond textbooks and tests, toward a model rooted in understanding, transformation, and human dignity.

What message does the movie give about the role of teachers and parents?

1. Teachers as Nurturers, Not Enforcers

The film challenges the conventional role of teachers as rigid authorities focused solely on academic performance. Through the transformation brought by the art teacher Ram Shankar Nikumbh, it redefines the teacher’s role as one of caregiver, motivator, and guide. Nikumbh’s approach—centered on observation, patience, and creativity—highlights the importance of recognizing the individual learning style of each student. He exemplifies a pedagogy based on compassion, not compliance, thereby humanizing the teacher-student relationship.

2. Parents as Listeners, Not Judges

The film equally critiques parental roles, particularly the tendency to impose societal expectations on children without understanding their inner world. Ishaan’s parents, especially his father, initially embody this error—judging the child by his grades rather than his abilities. The narrative stresses that parenting must be grounded in understanding rather than ambition, and that emotional neglect can be as harmful as physical punishment.

3. The Need for Emotional Intelligence

Both teachers and parents are urged to develop emotional literacy—the ability to perceive, interpret, and respond to a child’s emotional state. The film suggests that without this sensitivity, adults may misread distress as defiance and end up worsening the child’s struggles.

4. Shared Responsibility and Self-Reflection

The story also emphasizes that education is not limited to the classroom. The child’s well-being and development depend on a shared responsibility between home and school. Teachers and parents must not only teach, but also learn—about their children, about themselves, and about better ways to support and connect.

Conclusion

Ultimately, Sitare Zameen Par conveys that a child’s success lies not in conforming to external standards, but in being nurtured with empathy and guided with patience. It calls for a transformation in how teachers and parents understand their roles—not as moulders of children, but as guardians of their potential.

How does it compare with the story?

Comparison: Sitare Zameen Par and Crime and Punishment by R.K. Narayan

The Teacher-Student Relationship :

In Crime and Punishment, the teacher is depicted as a young, inexperienced man who tries to assert control over a mischievous student through punishment. However, his authority is undermined as the boy outsmarts and emotionally manipulates him. The teacher becomes helpless, caught between duty and moral uncertainty.

In contrast, Sitare Zameen Par presents an evolved teacher figure in Ram Shankar Nikumbh, who refuses to use fear or punishment. Instead, he understands his student’s emotional needs and adapts his methods accordingly. His success comes not from authority, but from empathy, creativity, and trust.

Discipline vs. Understanding :

Narayan’s story critiques a rigid, punishment-based educational mindset where children are seen as problems to be controlled. The child in the story wields unexpected power over the teacher, exposing the ineffectiveness of fear-based teaching.

Sitare Zameen Par takes this critique further by showing how such a system emotionally damages children like Ishaan. The film argues that understanding and support are more powerful than punishment in shaping a child’s future.

The Role of Parents :

In Crime and Punishment, the parent is largely absent from the narrative, but the boy’s behavior suggests he is indulged at home and spoiled, reinforcing the teacher’s isolation and lack of authority.

In Sitare Zameen Par, the parents—especially the father—represent societal pressure and academic expectations. They fail to understand Ishaan’s inner world until confronted with his emotional decline. Eventually, they undergo a transformation, learning to support rather than judge.

What did you feel or learn after watching the movie?

After watching Sitare Zameen Par, I felt very emotional and thoughtful. I learned that every child is unique and needs love, care, and understanding not pressure or punishment. The movie showed me how important it is for teachers and parents to support children with patience. It also made me realize that success is not only about marks or winning, but about confidence and self-worth.

Here i upload the pictures of our movie screening.

References : 

Narayan, R. K. Malgudi Days. Indian Thought Publications, 1982. Accessed 28 July 2025.

Sitare Zameen Par. Directed by Aamir Khan, performances by Darsheel Safary, Aamir Khan, and Tisca Chopra, UTV Motion Pictures, 2025.

Maharaja: Analysing Editing and Non-linear Narrative

 Maharaja: Analysing Editing and Non-linear Narrative

Hello. This blog is the part of studio activity of the unit An Introduction to the film studies by Dilip Sir. For the further information Click Here

HE FIL

PART A: BEFORE WATCHING THE FILM

WHAT IS NON-LINEAR NARRATION IN CINEMA?

Non-linear narration in cinema refers to a storytelling technique where events are not presented in chronological order. Instead of following a straight timeline (beginning → middle → end), the narrative may jump back and forth in time using flashbacks, flash-forwards, dream sequences, or parallel storylines. This technique is used to create suspense, build emotional impact, or present a deeper understanding of characters and themes.

Key Features of Non-Linear Narration:

• Flashbacks and flash-forwards
• Out-of-sequence scenes
• Multiple perspectives or timelines
• Puzzle-like storytelling

Example : 

Rang De Basanti (2006) – The film switches between present-day India and scenes from the 1920s British Raj. The characters’ current lives are intercut with historical episodes, drawing parallels between past and present struggles for justice.

HOW CAN EDITING ALTER OR MANIPULATE THE PERCEPTION OF TIME IN FILM?

Editing is one of the most powerful tools in cinema that shapes how viewers experience time. It can speed up, slow down, pause, repeat, or rearrange time to create drama, build suspense, show character memories, or connect multiple storylines. Through different editing techniques, filmmakers manipulate the natural flow of time to serve the story and emotion.

Key Editing Techniques:

Flashbacks

Definition: A scene that takes the audience back to a past event.

Effect: It interrupts the chronological flow to provide backstory, deepen character understanding, or reveal hidden truths.

Example: In Rang De Basanti, flashbacks to the freedom fighters’ era show historical parallels with the present.

Cross-Cutting (Parallel Editing)

Definition: Cutting between two or more scenes happening at the same time in different locations.

Effect: Creates tension, shows simultaneity, or draws thematic parallels.

Example: In Ghajini, scenes from the past and present are shown side by side to compare Sanjay’s two identities.

Ellipses

Definition: Omitting certain events or time periods to jump ahead in the story.

Effect: Speeds up the narrative and focuses only on important moments.

Example: In Taare Zameen Par, the transition from Ishaan’s home to boarding school skips over the travel and directly moves the story forward.

Montage

Definition: A series of shots edited together to condense time and convey development.

Effect: Shows growth, change, or preparation in a short amount of screen time.

Example: Training or emotional growth scenes are often presented this way.

Slow Motion & Speed Ramp

Effect: Slows down time to emphasize emotion or action.

Example: In emotional scenes or action sequences, time is stretched to let the viewer feel the moment deeply.

Jump Cuts

Definition: Abrupt cuts that skip forward in time within a continuous scene.

Effect: Creates a sense of urgency or fragmentation, often used in modern or experimental films.

PART B: WHILE WATCHING THE FILM    

Scene / Sequence	Approx. Timestamp	Time Period	Visual / Editing Clues	Narrative Purpose
Maharaja reports missing dustbin at station	00:25:00	Present	Plain interiors, real-time pacing, police’s bemused expressions	Serves as McGuffin intro; disguises the true motive
Truck collides into house	~00:06:10	Past (15 yrs ago)	Sudden, chaotic editing; crash sound emphasized	Establishes the foundational tragedy and the bin that saves his daughter
Flashback: Selvam’s crimes revealed via salon phone call	~01:23:00	Past (~15 yrs ago)	Dissolve to quieter tone, dialogue revealing Selvam’s guilt	Sets up Selvam as antagonist and deepens interwoven timelines
Return of necklace to Selvam	~02:13:00	Past	Cross-cut between barbershop and police arriving; tense musical shift	Shows how Selvam's arrest and resentment stem from that moment
“A week ago” sequence: family at home	~02:12:30	Near past (1 week prior)	Cooler color grading, slower cuts, family routine focus	Builds normalcy before tragedy and sets up overlapping timeline structure
Jyothi’s assault sequence	~01:42:00	Near past (week prior)	No flashback effects—sharp cuts, handheld chaos, muted score	Reveals the horrifying truth behind the dustbin story
Cross-cutting between station and house investigation	~00:25:00	Present + near past	Alternating scenes between police station and homecuts to build tension	Emphasizes that timelines are concurrent and converging
Eidolon: flashback to discovery of bin’s protective role	~01:05:00	Past (just after accident)	Voice-over by daughter, smooth fade into flashback, sepia-like warmth	Deepens emotional stakes and shows why bin becomes sacred
Nallasivam confesses in police station	~01:00:00	Present	Tight close-ups, quiet subdued lighting, investigative tone	Key turning point—perpetrator identification and plot acceleration
Final confrontation & Selvam’s suicide	~02:17:30	Present + flash intercut	Juxtaposition of present confrontation with Selvam’s past scars; cresting score	Closes narrative loops; trauma meets vengeance; Selvam takes his own life

PART C: NARRATIVE MAPPING TASK

CONSTRUCT A TIMELINE OF EVENTS AS THEY OCCUR CHRONOLOGICALLY (STORY TIME):

• Maharaja lives a peaceful life as a barber with his daughter Jyothi They have a modest but content life; he raises her with care and values. He treasures a dustbin named “Lakshmi” that once saved her life.

• Truck crashes into Maharaja's house Jyothi is saved from death during the accident by the metal dustbin "Lakshmi." This object becomes emotionally sacred to Maharaja and his daughter.

• Maharaja returns Selvam’s gold necklace after finding it Though honest, Maharaja's good deed results in Selvam being arrested for illegal activities. Selvam begins harboring a grudge against Maharaja.

• Selvam is released from prison and plots revenge He seeks out Maharaja and uses his gang to torment him indirectly.

• Jyothi is assaulted by Selvam and his men Selvam’s goons kidnap and sexually assault Jyothi, breaking Maharaja’s world. Jyothi survives but the family suffers in silence, avoiding public shame.

• Maharaja tracks down Selvam and his accomplices over time Quietly and methodically, he starts eliminating those involved. He disposes of their bodies using the dustbin “Lakshmi” as a symbolic tool of justice.

• Maharaja files a missing complaint about the dustbin To bait the police and trigger investigation. This odd report brings him under scrutiny and sets the story in motion.

• Investigation unfolds, police dig deeper Flashbacks and interrogations reveal past trauma, vengeance, and the missing criminals. Selvam becomes the main target, but the police don’t fully grasp the motive at first.

• Maharaja confronts Selvam and forces a confession He brings evidence and exposes Selvam’s crimes in front of the authorities. Jyothi identifies Selvam by a physical scar (ear on back), confirming his guilt.

• Selvam commits suicide Cornered and exposed, he ends his life—bringing closure to Jyothi and Maharaja. The police understand the whole truth, and Maharaja walks free, unpunished for his quiet justice.

CREATE A SECOND TIMELINE OF HOW EVENTS ARE REVEALED TO THE AUDIENCE (SCREEN TIME):

BRIEF REFLECTION (150-200 WORDS):

Brief Reflection (150–200 words)

The editing in *Maharaja (2024)* plays a crucial role in shaping how we understand both the characters and the unfolding of events. By using a non-linear structure, the filmmaker slowly peels back layers of the protagonist’s motivations, keeping the audience guessing about Maharaja’s true intentions. This delayed revelation not only builds suspense but also invites the viewer to form emotional connections based on empathy rather than clear facts.

One of the most impactful surprises was the reveal of Jyothi’s assault. Because the film withheld this information until later in the narrative, it dramatically recontextualized Maharaja’s earlier actions. What initially appeared to be a bizarre obsession with a missing dustbin transforms into a powerful act of hidden grief and vengeance. This moment, enhanced by raw, jarring visuals, leaves a lasting emotional impact.

Had the film followed a linear timeline, much of the suspense and emotional layering would have been lost. The non-linear editing allows the audience to experience confusion, curiosity, and finally catharsis—mirroring the character’s internal journey. In this way, the film engages both the heart and mind, making the storytelling more powerful than a straightforward chronological approach could have achieved.

PART D: EDITING TECHNIQUES DEEP DIVE

Scene	Editing Technique	Impact on Viewer	Notes
Jyothi’s Assault Reveal	Flashback, tonal shift, handheld camera, jump cuts	Shocking, emotionally intense, reframes Maharaja’s earlier actions	Scene appears suddenly; visuals are raw and disjointed, mirroring trauma
Truck Crashes into House (Start)	Cold open, loud sound cut, fast editing	Immediate tension and confusion; grabs attention	Begins the film without context; viewer is left wondering who the characters are

References :

Barad, Dilip. “ANALYSING EDITING and NON-LINEAR NARRATIVE IN MAHARAJA.” Research Gate, July 2025, www.researchgate.net/publication/393653801_ANALYSING_EDITING_NON-LINEAR_NARRATIVE_IN_MAHARAJA.

Maharaja. Directed by Nithilan Saminathan, Passion Studios, Think Studios, The Route, 2024. Netflix.

Netflix India. “Maharaja | Hindi Trailer | Vijay Sethupathi, Anurag Kashyap, Mamta Mohandas.” YouTube, 17 July 2024, www.youtube.com/watch?v=n3ttNeXKPHg.