Raja Shivaji – Film review

For someone who knows very little about the struggles of the mighty king, Raja Shivaji is less of a history lesson and more of a grand, immersive tapestry. 

Released in Marathi language on 1st May 2026, to coincide with Maharashtra Day, the film attempts to resurrect the Maratha legacy with unprecedented ambition.

The narrative traces the monarch's formative years, balanced by the guidance of his mother, Jijabai (Bhagyashree), and the watchful presence of his father, Shahaji Bhosale (Sachin Khedekar). 

We witness his bond with his brother, Sambhaji (Abhishek Bachchan), and the quiet strength of his wife, Saibai (Genelia Deshmukh).

The story delves into the geopolitical tensions of the era: Shah Jahan, ensconced in his opulent court in Agra, required skilled artisans and stone-cutters from the Deccan heartland to fuel his architectural vanity.

This systemic exploitation of the periphery by the center became a catalyst for regional resentment, ultimately contributing to the financial strain and internal decay that led to Shah Jahan’s imprisonment by his own son, Aurangzeb, during the brutal war of succession.

The casting—specifically Sanjay Dutt (Afzal Khan), Fardeen Khan (Shah Jahan), and Salman Khan (Jiva Mahala as Shivaji’s Bodyguard - ironically) has sparked intense debate.

Critics are questioning if the film leans into a majoritarian, pro-Sangh narrative by framing history through a rigid "us versus them" lens, casting prominent Muslim actors primarily as antagonists or instruments of the state’s historical friction.

For director and lead Riteish Deshmukh, the film functions as a sophisticated "cultural candidacy," effectively positioning him as the potential political successor to his late father, the towering statesman Vilasrao Deshmukh.

By reclaiming this legacy, Riteish sheds his long-held "Bollywood entertainer" label for a mantle of gravitas, mirroring how iconic Tamil actors have long established themselves as the true custodians of regional culture.

Much like Vijay in Kaththi (2014) or Rajinikanth’s bold, anti-caste stance in Kaala (2018), Riteish bridges his cosmopolitan background with the state’s deep-seated regional pride.

This cinematic endeavor lends him a unique, grassroots legitimacy that traditional party structures alone may not provide, suggesting his entry into active public life is an inevitable next chapter.

Technically, the film is a mixed bag.

Director Riteish Deshmukh manages a massive, sprawling canvas, though the computer graphics often feel patchy and disjointed, lacking the polish of modern global epics.

Ajay-Atul’s score is soul-stirring, providing the necessary emotional heartbeat to the sequences. 

However, the Hindi dubbing (for OTT) remains very average, often stripping the dialogue of its intended regional fire and rhythmic nuance.

Commercially, the film has made history, grossing over INR 130 crore—making it the highest-grossing Marathi film ever at the Box-Office.

While its numbers are modest compared to pan-Indian behemoths like Jodhaa Akbar (approx. INR 184 crore), it comfortably outshines the lacklustre, commercially disappointing box-office runs of historical ventures like Asoka feat. Shah Rukh Khan or Mangal Pandey feat. Aamir Khan.

With Netflix securing the streaming rights for a reported premium, the film is poised to reach a global audience.

Despite the technical flaws, viewers can now experience this slice of history on Netflix over 180 mins (minus songs, that is).