About movie Samrat Prithviraj
Samrat Prithviraj is a historical drama film based on the life of Samrat Prithviraj Chauhan, one of the most famous and fearless rulers of ancient India. The film chronicles his journey from being a young prince to becoming one of the most powerful kings in Indian history. Samrat Prithviraj also stars Sonakshi Sinha as Samrat’s love interest, Sanyogita. The film is directed by Chandraprakash Dwivedi and is set to release in 2022.
The great life of Samrat Prithviraj Chauhan required a screenplay that celebrated his journey, pride, and valor, but the filmmaker decided on a subtle approach with just a few heroics added to Akshay Kumar’s brave king of India. Instead of introducing the audience to the characters, the film swiftly moves from one sequence to another in the first half without focusing much on drama or build-up. The story starts well with a fight between Samrat Prithviraj and a lion in the opening minutes, but it then dips again before picking back up during the interval point. The war sequence, too, lacks the buildup we’ve seen in previous period films.
- Watch free Samrat Prithviraj movie at Cinema HD.
Review Samrat Prithviraj
The handsome king who galloped away with his lady in shining armour is said to be Prithviraj Chauhan, the early 12th-century ruler of Ajmer. Rajkumari Sanyogita, a beautiful princess, was kidnapped by Prithviraj Chauhan, the early 12th-century ruler of Ajmer. The details of this love story are recorded in Chand Bardai’s ‘Prithivaj Raso,’ which is claimed to be Prithviraj’s court poet. Not only was the lovely princess saved from her father’s rage; Jaichand, a traitor to the Mughals, was allowed to live till his deathbed.
This is a popular indigenous tale that most Indians will recall from their childhood. But there has never been a better time to make a film out of it: muscular nationalism is at its peak, and we are constantly reminded of the Mughal conquerors’ atrocities, who ‘trampled upon our temples and turned them into mosques.’ Samrat Prithviraj,’ in which Akshay Kumar plays the title role, wastes no time informing us that he was the final Hindu king: afterward came centuries of tyranny, which ended with India’s independence in 1947.
What Chandraprakash Dwivedi has done, however, is to update the legend to match the nation’s prevailing mindset: Prithviraj is emblematic of a Bharat when it was pure and unpolluted. How did a filmmaker who has previously made the extraordinarily subversive ‘Mohalla Assi’ manage this trick? (Dwivedi has stated that this is his favorite project and that he’s been trying to launch it for more than a decade). Is it simply a case of being quick?
The two-and-a-half hour run time of ‘Samrat Prithviraj’ is filled with high-pitched drama, rows and rows of costumes on display, with a massive scale filling the screen. Mohammad Ghori (Manav Vij) is the major adversary in this film, and while he doesn’t have quite as much power as Ranveer Singh’s Alauddin Khilji did in ‘Padmavat,’ he does have the ability to narrow his eyes and strike a man when he’s down, which fits those terrible conquerors quite appropriately.
However, the plot and any character are never given adequate breathing room, so the intent is on praising its topic: Chand Bardai (Sonu Sood) has more passion in his eyes than Prithviraj’s lady love (Manasi Chhillar, who appears to be more modern than medieval, and leaves little impression). Kaka Kanha (Sanjay Dutt), whose devotion to Prithviraj is put to the test repeatedly, serves as a court jester as well as an affectionate uncle. How can you make a typical film without a comic figure? Then there’s Ashutosh Rana as Jaichand, who has long been associated with treachery, and Sakshi Tanwar as his loud wife, who are given gentler handling than they merit because we all know who the real monsters are.
Prithviraj’s bravery makes him a hybrid of Bhishma and Bheem (according to the always-adoring Bardai), but he is also transformed into an early feminist, uttering unintentionally hilarious things in support of women generally, and particularly his Sanyogita, who he encourages to take his throne and listen to the people. Nobody else felt a disconnect when these identical sword-wielding “veeranganas” leap to their deaths, committing “jauhar.” That leaves Akshay free to do his thing: cutting through the ranks of the malevolent outsiders, spinning in the song and dance, and defending against their relentless advance.
The film’s straightforward, stripped-down tone is reflected in its raucous and lurid nature, which leaps between dialogue-baazi and blandness while steadfastly adhering to the purpose stated in the trailer.
Chandra Prakash Dwivedi
Chandra Prakash Dwivedi
Akshay Kumar, Manushi Chhillar, Sanjay Dutt, Sonu Sood, Manav Vij, Ashutosh Rana