Hindi cinema is currently 
in the throes of historical fever.
On the heels of Ashutosh Gowariker’s Panipat
comes Tanhaji: The Unsung Warrior.
For makers who are struggling with
how to revive centuries-old stories
for a millennial audience, 
I have good news.
Writer-director Om Raut, 
co-writer Prakash Kapadia
and leading man and co-producer Ajay Devgan 
seemed to have cracked the formula –
Tanhaji, based on the life of 
Shivaji Maharaj’s lieutenant,
is an action movie rolled into 
an Amar Chitra Katha comic.
Which means that there is 
no room here for nuance or arcs.
Actors play outsized, one-note characters.
The Marathas, with a few exceptions, 
are valiant, noble warriors
who sacrifice their lives 
for their motherland.
The Mughals are largely avaricious usurpers
 who demand ‘jaat' and ‘jaan’.
They are described as 
‘darindey’ and ‘mauka parast’.
The clash of good and evil 
is played out in 3D,
in an unapologetically artificial, 
digitized world.
The battle scenes seem straight out
 of a video game.
But Om doesn’t give you time to question
the history or the questionable politics
or the one-dimensional storytelling.
He immerses you in a 
quick-paced adventure
that skillfully combines spectacle, 
nationalism and hyper-masculinity.
As storytelling, 
Tanhaji is rousing and effective.
Subedar Tanhaji Malusare is the ultimate mard
Maratha – he twirls his moustache and ferociously
leads his men into battle even 
when they are drastically outnumbered.
He goes up against Aurangzeb’s
Rajput general Udaybhan.
Uday is a sadist who kills for amusement.
In one scene, he screams so loudly 
that a man topples to his death.
It is fitting that the fight between Tanhaji
and Uday pivots on a phallic symbol –
a canon called Nagin that is pointed 
at the fortress of Shivaji Maharaj.
Ajay Devgn plays Tanhaji 
with rock-like conviction.
This is the man who stands stoic 
in the face of death.
But Ajay doesn’t over-express the valour.
Even the fiery speeches are
delivered with gravitas.
Though there are moments when it feels like
the trademark reserve will crack
and he will do a 
‘aata majhi satakli’ from Singham.
It’s a smart choice to cast
Kajol as Tanhaji’s wife Savitri.
She has few scenes but the familiarity 
between the real-life husband and wife
helps to ground their relationship.
Sharad Kelkar is impressive as Shivaji Maharaj
– he has an innate dignity.
I can’t imagine any future films on 
Shivaji Maharaj casting anyone else.
But the scene stealer is Saif Ali Khan
having the time of his life as Udaybhan.
Saif plays the exaggerated evil 
with a cheeky panache.
Uday is an elegant psychopath.
There are echoes of Sanjay Leela Bhansali
in the elaborate lighting scheme
and the colour coding of characters.
The spectacle and staging of war seems inspired
by the Baahubali franchise.
And the surgical strike sentiment feels like
Uri: The Surgical Strike.
You can almost hear Tanhaji 
asking his troops  – How’s the josh.
Om cleverly combines these elements –
the climactic battle is 
plotted with absolute precision.
DoP Keiko Nakahara and editor Dharmendra Sharma
create a propulsive, immersive experience.
The film’s furious nationalism is bolstered
by Sandeep Shirodkar’s background music.
And the costumes by Nachiket Barve and 
Mahesh Sheria are aesthetic and nicely detailed -
especially Udaybhan’s more elaborate wardrobe.
Tanhaji succeeds in pushing your buttons
but there is no getting away 
from its problematic ideology.
In one scene, when a Mughal general is killed,
Om immediately moves the camera to
temple bells ringing loudly as though the 
gods themselves were applauding.
This film is apparently the first in a series
that celebrates the unsung heroes of India.
I hope the ones that follow 
offer more inclusivity.
