Maharaja: Analyzing Editing and Non-linear Narrative
This blog is written as a task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir. Here is the link to the professor's article for background reading: Click here.
PART A: BEFORE WATCHING THE FILM
1. What is non-linear narration in cinema? Use examples from films you’ve seen previously.
Non-linear narration in cinema refers to a storytelling technique where the events are not shown in chronological order but are rearranged to create suspense, reveal character psychology, or explore memory. In Ghajini (2008), the narrative shifts between the protagonist’s present—where he suffers from short-term memory loss—and his past—revealed through flashbacks and photographs. This fragmented storytelling mirrors his disoriented mental state and gradually uncovers the motive behind his quest for revenge, keeping the audience engaged and emotionally connected.
2. How can editing alter or manipulate the perception of time in film? Mention editing techniques like cross-cutting, flashbacks, parallel editing, ellipses, etc.
In Ghajini (2008), editing plays a key role in shaping the perception of time. The use of flashbacks reveals the protagonist’s tragic past, while ellipses skip over repetitive events caused by his memory loss. Cross-cutting is used to build tension between Sanjay’s present actions and past memories. These techniques blur the boundary between memory and reality, allowing the audience to experience his fractured sense of time and gradually reconstruct the narrative alongside him.
PART B: WHILE WATCHING THE FILM
As you watch Maharaja, carefully observe each scene or sequence and note the approximate timestamp when it occurs. Identify whether the scene is set in the past, present, or another time period by looking for visual or editing clues such as color tone, costume, transitions, or lighting changes. Finally, consider the narrative purpose of the scene — ask yourself how it contributes to the story, whether it develops a character, advances the plot, builds suspense, or reveals a theme.
PART C: NARRATIVE MAPPING TASK
1.Construct a timeline of events as they occur chronologically (story time):
Create a simple timeline that orders the actual story from beginning to end — not the way it's presented in the film, but how it unfolds logically.
2.Create a second timeline of how events are revealed to the audience (screen time):
Note how the editor or filmmaker delays or reshuffles events for suspense or emphasis.
3. BRIEF REFLECTION :
1. What effect does the editing have on your understanding of the characters and events?
The editing had a deep impact on how I understood the characters and their emotional journeys. At first, Maharaja appears like a simple man who has lost a dustbin named Lakshmi—but the editing hides the truth intentionally, making us curious and confused. As the film shifts between past and present, we slowly discover the pain, the love, and the trauma that Maharaja has gone through. Each cut reveals a new side to the characters—especially Maharaja, Selvam, and Jothi.
The use of non-linear storytelling helped me realize how deeply damaged each character is. A powerful symbol in the film is the snake, which is known for eating its own eggs without knowing they are its own. The same thing happens with Selvam—he becomes the reason for the destruction of his own daughter without even knowing who she really is. This layer of tragedy becomes clear only because of how the scenes are edited and placed. Without this editing style, we would miss out on the deeper symbolism and emotional weight.
2. Did any reveal surprise you because of how it was edited?
Yes, many reveals shocked me, especially the one where we come to know that Jothi (Ammu) is actually Selvam’s daughter. I never expected this because Maharaja’s love for her felt purely paternal and selfless. The editing hides this truth until the right moment, and when it comes out, it shakes us. Another surprising moment was when we learn that Selvam and Sabari were not only robbers but also involved in a rape case. These facts are not told in the beginning—they are carefully revealed later, which completely changes our perception of the characters. The editing uses silence, time jumps, and flashbacks to build up these shocks.
3. Would a linear narrative have had the same emotional or intellectual impact?
No, I don’t think so. If the film had followed a linear narrative, we would have known everything from the beginning—who did what, and why Maharaja is the way he is. That would have removed the suspense and the emotional layering. The non-linear editing gives the audience the role of an investigator—we are slowly putting the pieces together, just like Maharaja is. This increases both emotional depth and mental engagement. We feel more connected to the characters because we go through the journey with them—not ahead of them. So, the non-linear style made the emotional impact much stronger and kept the suspense alive till the very end
PART D: EDITING TECHNIQUES DEEP DIVE
Choose any two sequences from the film that demonstrate exceptional editing.
For each, describe:
• What is happening in the scene?• Which editing techniques are used?• How does the editing influence pacing, emotion, or information flow?
Scene 1: Maharaja Files FIR at the Police Station
- What is happening in the scene?
In this powerful sequence, Maharaja visits the police station with nothing but a complaint about a missing “Lakshmi.” At first glance, it sounds ridiculous—a man grieving over a dustbin. But this is where the editing plays with our perception. The emotional weight behind his composed tone, the quietness in his eyes, and the police officers’ mocking reactions all create a disjointed feeling—something is not right. We are made to laugh… but with a sense of unease.
- Which editing techniques are used?
The scene uses cross-cutting and time displacement. As Maharaja speaks, there are subtle flash cuts—visual fragments of a girl, a house, a truck accident—but nothing is clear. The editing leaves us hanging, puzzled. The timeline is broken intentionally, and we feel the gap between what is being said and what truly happened.
- How does the editing influence pacing, emotion, or information flow?
The slow, minimal pacing makes the silence louder than the dialogue. The editing hides and reveals at the same time—like a wound beneath a bandage. Emotionally, it disorients the viewer and makes us question Maharaja’s sanity. But later, when the truth unfolds, we feel immense guilt for ever doubting him. The editing manipulates time like memory—unreliable but truthful in fragments. That’s the genius.
Scene 2: The Reveal of Jothi’s Identity and Selvam’s Realization
- What is happening in the scene?
This is the moment of reckoning. Selvam discovers that the girl he tortured is his own biological daughter. Maharaja does not even need to speak—the entire reveal happens through flashbacks, eye contact, and silence. There is no dramatic background music, just raw emotion.
- Which editing techniques are used?
Here, montage, match cuts, and non-linear layering are brilliantly used. Past events are woven rapidly—Selvam’s wife’s death, the dustbin falling on Ammu, the way Maharaja raises her as Jothi. The flashbacks intercut with present expressions, building tension not through sound, but through realization.
- How does the editing influence pacing, emotion, or information flow?
The pacing is breathless. The viewer is bombarded with memories, like Selvam’s conscience crashing all at once. The editing pulls us into his inner breakdown. Emotionally, this is the peak of tragedy. The man who planted destruction reaps its most bitter fruit. The editing makes us feel his helplessness, regret, and horror without a single line of explanation. The snake symbol from before becomes painfully real here—Selvam, unknowingly, had destroyed what was his own. That’s the power of good editing: it doesn’t just show, it haunts.
References :
Barad, Dilip. “FILM STUDIES WORKSHEET: ANALYSING EDITING & NON-LINEAR NARRATIVE IN MAHARAJA (2024).” ResearchGate, July 2025, https://doi.org/10.13140/RG.2.2.35210.79045.
Maharaja. Directed by Nithilan Saminathan, The Route, Think Studios, Passion Studios, 2024.
Thank You!
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