Maharaja: Analysing Editing and Non-linear Narrative
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HE FIL
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
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
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.
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