Rutvi Pal
Welcome to my academic blog, a curated space where literature, theory, and critical thinking meet. As a postgraduate student of English at Maharaja Krishnakumarsinhji Bhavnagar University, I share detailed notes, assignments, presentations, and reflections on topics ranging from war poetry and modern drama to deconstruction and postmodernism. This platform serves as both a personal archive and a resource for fellow literature enthusiasts.
Monday, August 11, 2025
Film Screening—Deepa Mehta's Midnight's Children
Sunday, July 20, 2025
The Patriot By Nissim Ezekiel
"Wine is for the drunkards only. / What do you think of the prospects of world peace?"
“Be patiently, brothers and sisters.”
“Pakistan behaving like this, / China behaving like that…”
“In India also / Gujaratis, Maharashtrians, Hindi Wallahs / All brothers – / Though some are having funny habits.”
“Not that I am ever tasting the wine. / I’m the total teetotaller, completely total,”
Tuesday, July 15, 2025
Maharaja: Analysing Editing and Non-linear Narrative
Maharaja: Analyzing Editing and Non-linear Narrative
PART A: BEFORE WATCHING THE FILM
PART B: WHILE WATCHING THE FILM
Maharaja | |
Theatrical release poster | |
Directed by | |
Screenplay by | Nithilan Saminathan Raam Murali |
Story by | Nithilan Saminathan |
Produced by | Sudhan Sundaram Jagadish Palanisamy |
Starring | |
Cinematography | Dinesh Purushothaman |
Edited by | |
Music by | |
Production companies | The Route Passion Studios |
Distributed by | |
Release dates |
|
Running time | 140 minutes |
Country | India |
Language | Tamil |
Budget | ₹20 crore |
Box office | est. ₹190 crore |
Actor/Actress | Role |
Vijay Sethupathi | Maharaja |
Anurag Kashyap | Selvam |
Mamta Mohandas | Aasifa |
Natty Subramaniam | Inspector S. Varadharajan |
Abhirami | Kokila Srilakshmi |
Divyabharathi | Maharaja's Wife |
Singampuli | Nallasivam |
Aruldoss | SI Perumalsamy |
Munishkanth | Constable Kuzhandhaivelu |
Sachana Namidass | Jothi / Ammu |
Baby Shynika | Baby Jothi |
Vinod Sagar | Sabari, Selvam's Assistant |
Manikandan | Dhana |
Kaalaiyan | Councillor Karunakaran |
Kalki Raja | Police / A Thief |
P. L. Thenappan | Salon Owner |
Saravana Subbiah | Inspector |
Vetrivel Raja | Constable Dhanapal |
Bharathiraja | Gopal Thatha |
Mohan Raman | Doctor |
Poovaiyar | Salon Staff Member |
Lizzie Antony | Victim of Robbery |
Poster Nandakumar | School Correspondent |
Sreeja Ravi | Aasifa's Mother |
Pichaikkaran Moorthy | Cyber-Crime Staff Member |
Sangeetha V. | Varadharajan's Wife |
Supergood Subramani | Toy Shop Owner |
Mullai Arasi | Thief's Wife |
Pradeep K Vijayan | Saloon Customer |
Hello Kandasamy | Constable |
Scene/Sequence | Approx. Timestamp | Time Period | Visual or Editing Clues | Narrative Purpose |
First appearance of Maharaja | 00:03:14 | Past | Warm tone, nostalgic mood | Introduces protagonist |
First appearance of wife and daughter | 00:05:00 | Past | Domestic setting, gentle lighting | Establishes family background |
First appearance of Lakshmi (dustbin) | 00:05:30 | Past | Focus on object, emotional lens | Symbolic introduction |
Truck accident and wife’s death | 00:06:20 | Past | Rapid cuts, chaotic visuals | Tragic turning point |
Introduction of younger Jothi on sports ground | 00:07:25 | Present | Bright, real-time pacing | Transition to present, shows growth |
Jothi falsely accused at school | 00:11:40 | Present | Tense atmosphere, school setting | Shows conflict and social pressure |
Jothi going to sports camp | 00:16:00 | Present | Journey visuals, farewell scene | Temporary separation, plot movement |
First appearance of Snake | 00:17:13 | Present | Close-up shot, suspense music | Symbol of lurking danger |
Unconscious Maharaja | 00:18:05 | Present | Dim lighting, dramatic tone | Creates mystery |
First appearance of Dhana | 00:19:20 | Present | Introduction with suspicious tone | Introduces antagonist |
Fight between Dhana and counselor | 00:22:00 | Present | Aggressive body language, loud ambience | Confirms Dhana’s violent nature |
Maharaja files FIR about Lakshmi | 00:25:00 | Present | Police station, flat tone | Initiates legal journey |
Conflict between police and Maharaja | 00:29:15 | Present | Verbal clash, rising tension | Resistance from authority |
Second appearance of Snake | 00:29:47 | Present | Sudden focus on snake | Symbol of recurring danger |
Conversation between thief and Inspector Varadharajan | 00:34:14 | Past | Flashback cues | Adds background to the investigation |
Maharaja repeats story of losing Lakshmi to Varadharajan | 00:36:25 | Present | Repetitive dialogue | Reflects obsession or trauma |
Maharaja offers ₹5 lakh to find Lakshmi | 00:42:45 | Present | Determined tone | Stakes rise, desperation shown |
First appearance of Selva committing robbery and murder | 00:46:40 | Past | Dark setting, quick edits | Introduces hidden antagonist |
Sabari assaults a girl | 00:50:30 | Past | Disturbing and shadowy visuals | Reveals the crime |
Scene/Sequence | Approx. Timestamp | Time Period | Visual or Editing Clues | Narrative Purpose |
First appearance of Selva's daughter (Ammu) | 00:51:52 | Past | Calm domestic setting | Introduces Ammu, triggers emotional link |
Dustbin shown at Selva's house | 00:52:26 | Past | Focus on object, symbolic framing | Hints at Lakshmi's journey |
Mark on Ammu’s back | 00:55:28 | Past | Close-up, dark lighting | Implication of abuse |
First appearance of Nallasivam | 00:56:28 | Present | Entering frame with authority | Introduces character in present timeline |
A man comes to file FIR about Dhana's disappearance | 00:59:54 | Present | Police station scene | Builds suspense and legal tension |
Third appearance of snake | 01:00:18 | Past | Sudden cut to snake | Reinforces symbolic threat |
Maharaja follows Dhana | 01:03:02 | Past | Tense music, stalking visuals | Build-up to confrontation |
Maharaja kills Dhana | 01:09:52 | Past | Dark, intense confrontation | Acts of justice and revenge |
Selva buys gold chain | 01:16:50 | Past | Normal street visuals | Suggests casualness after crime |
Selva visits the salon where Maharaja works | 01:23:29 | Past | Real-time salon scene | Connects two storylines |
News about crimes committed by Selva and Sabari appears in newspaper | 01:25:23 | Past | Visual zoom on newspaper | Public revelation of crime |
Police and Maharaja visit Selva’s house; crimes are revealed | 01:30:10 | Present | Police raid visuals | Turning point; confrontation with truth |
Police search for a man who claims to have stolen Lakshmi | 01:37:42 | Present | Investigation and dialogue scene | False confession distracts focus |
Nallasivam agrees to confess | 01:39:02 | Present | Calm but suspicious demeanor | Twist in the investigation |
Maharaja repeats his story on phone | 01:40:49 | Present | Voiceover flashback style | Emphasizes trauma and narrative consistency |
Jothi returns from camp; real story is revealed | 01:41:21 | Past | Montage + slow motion visuals | Shocking truth behind Maharaja’s version is unveiled |
Rape of Jothi by Nallasivam and Dhana | 01:46:10 | Past | Dark tone, disturbing visuals | Central traumatic event, motive for revenge |
Lakshmi is found under Jothi’s bed | 01:52:48 | Present | Close-up on dustbin | Emotional closure; key symbolic reveal |
Police grant Maharaja freedom to kill Nallasivam | 02:02:00 | Present | Intense dialogue scene | Legal system bends to morality |
Police learn the truth about Nallasivam | 02:01:18 | Past | Flashback with visual evidence | Confirms villain’s real identity |
Maharaja and police find an ear behind Nallasivam’s back | 02:02:55 | Present | Shocking close-up | Final confirmation of guilt |
Scene/Sequence | Approx. Timestamp | Time Period | Visual or Editing Clues | Narrative Purpose |
Maharaja kills Nallasivam | 02:04:43 | Present | Violent, slow-motion action | Climactic justice fulfilled |
Fight between Selvam and Maharaja | 02:06:51 | Present | Fast cuts, physical confrontation | Final external conflict escalates |
Jothi talks with Selva | 02:10:54 | Present | Emotional tone, quiet setting | Emotional closure between father and daughter |
Maharaja and his wife visit Selva’s house | 02:12:46 | Past | Peaceful flashback, family scene | Connects the families before tragedy |
Truck tragedy in market—Maharaja’s wife, Selvam’s wife die; Ammu saved by Lakshmi | 02:13:42 | Past | Chaotic visuals, dramatic slow motion | Central tragedy that unites both families |
Selvam learns that Jothi is his daughter | 02:14:14 | Present | Shocked expression, revelation scene | Major identity revelation |
Selvam commits suicide; his blood on Jothi’s footprints | 02:17:48 | Present | Symbolic imagery, tragic ending | Redemption and final closure of Selvam’s arc |
PART C: NARRATIVE MAPPING TASK
PART D: EDITING TECHNIQUES DEEP DIVE
• What is happening in the scene?• Which editing techniques are used?• How does the editing influence pacing, emotion, or information flow?
- What is happening in the scene?
- Which editing techniques are used?
- How does the editing influence pacing, emotion, or information flow?
- What is happening in the scene?
- Which editing techniques are used?
- How does the editing influence pacing, emotion, or information flow?
Film Screening—Deepa Mehta's Midnight's Children
1. Pre-viewing Activities A. Trigger Questions 1. Who narrates history — the victors or the marginalized? How does this relate to persona...
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This blog task is assigned by Megha Trivedi Ma'am (Department of English, MKBU). Sitaare Zameen Par Theatrical release poster Directed ...