'Samrat Prithviraj' is a biographic period action film about the life of warrior-king Prithviraj Chauhan, a Rajput king from the Chahamana dynasty. The film is based on the Braj language epic poem 'Prithviraj Raso' written by the court poet Chand Bardai. Akshay Kumar plays the titular role in the film while Sonu Sood plays the poet Chand.


Note: As much content and ambiguous the real details of the life of Prithviraj, the film presents an amalgamation of many facts, oral narratives and deeply questioned historical truths that may/can be historically incorrect.


However, from what is being said, almost 18 years of research had gone into the subject matter of the film and for this review, we place our trust in the filmmaker, Chandraprakash Dwivedi for having done justice to the subject and historical narratives.


'Samrat Prithviraj' Review


The film has been aptly designed and suits the period-action genre completely. In terms of screenplay and dialogues, 'Samrat Prithviraj' is a well-written and executed film. 


It is also structured in a cohesive manner.  Varying timelines of wars and momentous sequences of Prithviraj Chauhan's life are presented in a fashion that reveal and revel in the glory of the warrior king. In that respect, Chandraprakash Dwivedi has done a fine job.


Performances


Akshay Kumar is not the first expectation for a character so huge in pride and glory. Yet, we see Akshay ace his role in parts. His hero-image of a king is slightly different from what is fed to us in general and will remind us of Shahid Kapoor from 'Padmaavat'.


But for some reason, we see Akshay's almost organic inclination to comedy seep into this war drama. For instance; in the climax, when Prithviraj is in a rather precarious situation( as captured by Muhammad of Ghori, played by Manav Vij), we see him call out the Sultan's subject as 'Sultan ke tatoo...' 


Whether this comic angle was intentional to lighten the mood of the film, or it reduced the moment's impact, is for audiences to judge in various other instances too.


For a change, we see the lead heroine in a film of this genre treated with respect. Manushi Chhillar makes her debut with 'Samrat Prithviraj' and does every bit justice to her role where she plays Sanyogita, wife of Prithviraj.


Sanyogita also happens to become a voice of women empowerment in the film and a time when women rights were unheard of. Since we cannot substantiate how historically correct these sequences of standing up for women's rights or sitting in court with Prithviraj as an equal are, we would rather not comment on them from that angle.


Sanjay Dutt( kaka) as an impulsive and loyal warrior and his chemistry with Sonu Sood( Chand) gives a comic angle to the film.


Sonu Sood as court poet and confidante of Prithviraj deserves a special mention. His performance as someone with a foresight about what will happen in the future, knowing about his death in advance etc. lend a great depth to his character and the film.


Sound & Image


'Samrat Prithviraj' uses an apt background score that has a tune for every mood- war, anger, shame, glory and love etc. 


In fact, it's with the immense help of the background score that big war sequences, long scenes of patronizing king's glory become bearable in a good way.


A song 'Yodha' from the film, although used to further the narrative and imply the importance of the 'Johar' sacrifice could have been completely done away with.


However, the transition-into-song sequences, an art which most filmmakers have lost these days, was also done brilliantly for 'Makhmali' and 'Yodha' both.


The filmmakers of 'Samrat Prithviraj' use a variety of image movements to convey meaning of the film. 


Blurring of landscapes to heighten the emotion of perishing soldiers, long shots and master shots of war sequences, medium shots and a few closeups when we are dealing with characters and their personal struggles are all used in an observational manner to highlight that the film is only a chronicle.


A notable sequence to mention is where we see Akshay looking directly into the camera that is placed on the floor where Muhammad Ghori is lying also establishing in what glorious light the entire film will treat the Prithviraj, the king. 


Design


'Samrat Prithviraj' has a design obviously suited to the period film but there is a natural look to it.
 
The contrast between the warring parties: those of Prithviraj and Muhammad Ghori forces, between good and evil is also like the set template of all such period action films.


Ideology


It is important to mention that for some reason, 'Samrat Prithviraj' feels like an epic-period action film designed for the contemporary audience. Debates that are equally revelant in today's world seem to be fitted into the period film that makes it look like a 'consensus narrative'.


The rights of women question, dharma of any righteous person etc. and an insight into why kings fight presents a different ideological angle that is rare to see in mainstream period-action flicks. 


What doesn't work in 'Samrat Prithviraj'?


The disclaimer at the end of the film. The talk of the end of Hindu rule, after the death of Prithviraj Chauhan, from the Delhi Sultante's time to India's independence in 1947. A rather restrictive take on history, this could have been avoided.


This divide between good Hindu and bad Muslim also should have been avoided in the film that only fans myths about both communities.


Conclusion


In all, 'Samrat Prithviraj' is a well-made film which adds quite a many nuances to period-action films. A must watch for all Akshay Kumar fans.