Tuesday, 15 July 2025

FILM STUDIES WORKSHEET: ANALYSING EDITING & NON-LINEAR NARRATIVE IN MAHARAJA (2024)

This task is assigned by Dr. Dilip Barad sir as part of the Film Studies paper, with the objective of deepening our understanding of cinematic techniques through a critical analysis of the 2024 Tamil film Maharaja. Click here.


Analyzing Editing & Non-Linear Narrative in Maharaja (2024)


Introduction:  Maharaja (2024)



Maharaja (2024), directed by Nithilan Saminathan, is a gripping Tamil action-thriller that unfolds through a non-linear narrative. At its core, it tells the story of a seemingly eccentric man who walks into a police station to report a missing dustbin. But what begins as a bizarre complaint soon spirals into a chilling tale of revenge, hidden trauma, and long-buried secrets. As timelines shift and past events surface, we discover that the dustbin holds emotional weight — it once saved his daughter’s life. The film slowly reveals a brutal crime and the protagonist’s quest for justice, building suspense through clever editing and powerful storytelling.

For further and holistic details, click here.

Here is the trailer : 



 PART A: Before Watching the Film

 1. What is non-linear narration in cinema?

Non-linear narration refers to a storytelling technique in which the events of the plot are presented out of chronological order. Instead of progressing from point A to B to C, the narrative may start at the climax, then jump back to the beginning, then move to the middle—forcing viewers to piece together the storyline like a puzzle.

This technique challenges traditional storytelling and often mirrors the fragmented way in which humans recall memories or uncover hidden truths. Non-linear narratives are particularly effective in thrillers, psychological dramas, or complex character studies where suspense, emotional depth, or gradual revelation is key.

🎥 Examples:

  • Christopher Nolan’s Memento (2000): The entire film unfolds in reverse chronological order, immersing the audience in the protagonist’s short-term memory loss.

  • Quentin Tarantino’s Pulp Fiction (1994): Scenes from different timelines are presented non-sequentially to create dramatic irony and stylistic flair.

  • Super Deluxe (2019, Tamil): A bold Tamil film that interweaves multiple storylines and characters, shifting timelines and perspectives to explore themes of morality, identity, and coincidence.

  • Asuran (2019): Uses flashbacks to reveal past trauma and motivations, enhancing character development and narrative intensity.

Non-linear narration requires active viewer engagement and rewards close attention—it invites the audience to become detectives.


 2. How can editing alter or manipulate the perception of time in film?

Editing is the invisible art of cinema—where meaning is often shaped not by what is shown, but by how it's arranged. Through editing, time can be bent, broken, stretched, or condensed, allowing filmmakers to guide our emotions, build suspense, or withhold key information until the right moment.

✂️ Key Editing Techniques:

  • Flashbacks: Revisit past events to provide context or reveal hidden truths.

    Example: In The Godfather Part II, flashbacks humanize Vito Corleone and contrast with Michael’s present.

  • Cross-cutting (a.k.a. parallel editing): Cutting between two or more scenes happening simultaneously to create tension or thematic connections.

    Example: Interstellar’s climax cross-cuts between Murphy on Earth and Cooper in the black hole, intensifying the emotional and temporal stakes.

  • Ellipses: Omitting chunks of time, forcing viewers to infer what happened in between.

    Example: In Citizen Kane, Kane’s marriage deteriorates in a series of breakfast scenes compressed into minutes.

  • Jump Cuts: Abrupt transitions that break the illusion of continuous time, often used to signify a rush, chaos, or psychological fragmentation.

    Example: Breathless by Jean-Luc Godard, where jump cuts became a stylistic rebellion against Hollywood norms.

  • Match Cuts: Smooth transitions that link two visually or thematically similar scenes, creating symbolic continuity.

    Example: 2001: A Space Odyssey cuts from a bone to a spaceship, linking prehistoric and futuristic tools.

Editing manipulates perception—what we think happens and when. It can accelerate a chase, slow down a heartbreak, or reveal a plot twist at the perfect moment. It gives structure to a film’s emotional rhythm and controls what the viewer knows and feels.


PART B: While Watching the Film — Timeline Shifts in Maharaja (2024)



Scene/Sequence

Approx. Time-

stamp

Time Period

Visual/

Editing Clues

Narrative Purpose

Antakshari in barber's shop

00:02:30

Past

Light tone

Establishes Maharaja’s peaceful life and close community

Scene of Truck

accident

00:06:24

Past

Wide shorts and closeup scenes

Builds mystery

Introduction of Jothi at sports ground

00:08:14

Present

Natural light & handheld camera scene

Introduces Jothi’s innocence and bond between father & daughter

At police-station Fir for missing ‘Lakshmi’

00:25:33

Present 

Formal tone

Begins main mystery, viewer misled into thinking Lakshmi is a person

Maharaja follows Dhana and Murdered him

01:04:13

Present

Shoulder shots,wide shots, editing clues 

Detective aspect of maharaja’s reveal and Revenge killings unfold

Selvam buying gold locket for his daughter

01:16:24

Past 

Soft focus and closeup scenes 

Clue into Anurag’s involvement

Phone talk between Selvam and Sabari

01:24:50

Past 

Hidden cameras

Symbol of selvam’s direct connection to crime

Selvam forget locket at barber shop, Maharaja comes to give him back to Selvam, that time police comes to arrest Selvam

01:29:21

Present

Closeups scenes, editing,

  

Turning point of the mystery/film story but yet it wasn’t solves

Duplicate dustbin is ready, Nallasivam is ready to do acting of Theft of a dustbin

01:35:55

Present

Editing clues and shots shoot different place 

Triggers confusion and escalation

Police ask Maharaja for full story of ‘Lakshmi’

01:40:29

Past-

Present 

Crossfade to flashback

Key reveal sequence begins

Daughter’s rape & trauma revealed,  Maharaja takes daughter to hospital

01:52:36

Past

Warm light, emotional close-ups

Shows psychological fallout of trauma

False behavior continues (culprit)

01:56:00

Present

Fast-cut reaction shots

Continues tension of vengeance mission

Fight with Anurag; daughter & teacher enter

02:06:02

Present 

Quick cuts, dramatic lighting

Final physical and emotional confrontation

Daughter wants to speak to Maharaja

02:10:44

Present

Close-up, silence before speech

Emotional catharsis begins

Reveal: Daughter is Anurag’s

02:12:20

Past- Present

Intercut flashbacks

Deepens emotional complexity; story comes full circle




PART C: Narrative Mapping in Maharaja (2024)

A Comparison of Story Time vs Screen Time

Chronological Timeline of Events (Story Time)

Revealed Timeline in the Film (Screen Time)

1. Maharaja lives peacefully with wife and daughter Ammu.

1. Maharaja reports missing dustbin at the police station.

2. Selvam, Nallasivam, and others rape Ammu.

2. Maharaja begins tracking and killing unknown men.

3. Selvam buys a gold chain for Ammu’s birthday.

3. Flashback: Truck crash kills Kokila; Ammu survives.

4. Maharaja and family go to Kokila’s house to return the chain.

4. Nallasivam is brought to Maharaja; flashback reveals his role.

5. Truck crashes into Kokila’s house; Kokila dies; Ammu is saved.

5. Selvam finds the gold chain, triggering a flashback.

6. Maharaja adopts Ammu, renames her Jothi.

6. Flashback to Kokila rejecting the gold chain.

7. Dhana dies; investigation begins.

7. Selvam sees scar on Jothi’s shoulder, realises she is Ammu.

8. Varadharajan discovers Selvam and Nallasivam’s involvement.

8. Montage of past crimes → Selvam commits suicide.

9. Maharaja begins his revenge mission.

9. Final image: Selvam’s blood merges with Jothi’s footprint.

10. Nallasivam is captured and killed.


11. Maharaja captures Selvam and brings Jothi to confront him.


12. Selvam realises Jothi is Ammu and jumps to his death.



3. Brief Reflection (Question-wise)

🔹 What effect does the editing have on your understanding of the characters and events?

The editing deepens our understanding by revealing characters' motives slowly. It presents Maharaja not just as a violent man, but as a grieving father on a quest for justice. Each flashback adds emotional context to his actions, making the revenge meaningful rather than mindless.

🔹 Did any reveal surprise you because of how it was edited?

Yes — the reveal that Jothi is actually Ammu was a shock. It was held back deliberately and revealed through visual cues like the scar and the chain. This twist, edited into a slow emotional montage, redefined everything we had seen before.

🔹 Would a linear narrative have had the same emotional or intellectual impact?

No. A linear narrative would have made the plot predictable. The non-linear structure allowed mystery and empathy to grow together, maintaining suspense while letting us connect emotionally. It made the final revelations far more powerful.


PART D: Editing Techniques Deep Dive — Maharaja (2024)




Scene

Editing Techniques Used

Impact on Viewer

Notes

Photo

1. Scar Revelation – Jothi is Ammu

Match cut, cross dissolve, emotional montage, close-up inserts

Sudden realization and emotional shock; helps viewers feel Selvam's guilt and horror

The scar matches Ammu’s, triggering a heartbreaking montage of past events. The pacing slows down to let the impact settle.

2. Selvam’s Suicide Scene

Montage editing, symbolic imagery, slow motion, sound bridge

Creates poetic justice and symbolic closure. Viewer feels the weight of guilt and the tragedy of unintended consequences.

His blood merges with Jothi’s footprint — edited to visually represent karma and consequence. The silence intensifies reflection.


PART E: Analytical Essay


How The Hindu Evaluates Nithilan Saminathan’s Direction in Maharaja.  

Click here. 



1. Vijay Sethupathi excels, bringing depth to an emotionally driven role.


2. An “almost-there” thriller with gripping mood and suspense.


3. Director Nithilan shows strong control over tone and pace.


4. Explores revenge with emotional depth, not just action.


5. Editing keeps it engaging, despite some plot flaws.


"In Maharaja, editing is not just a technical craft but a storytelling strategy.”

 




In Nithilan Saminathan’s Maharaja (2024), editing plays a role far beyond mere scene transitions or pacing — it becomes the very structure through which the story is told, emotions are conveyed, and revelations are timed. The film uses a non-linear narrative style, where scenes from the past and present constantly interact, drawing the viewer into a layered experience of memory, trauma, and justice.

At first glance, the story appears to follow a mysterious, somewhat erratic protagonist who complains about a missing dustbin. But as the film unfolds, it is the editing that reveals the deeper layers of Maharaja’s grief, his daughter's tragic past, and the motivations behind his actions. Flashbacks are not simply inserted for exposition; they are crafted to coincide with emotional triggers, such as the sight of a scar, a piece of jewellery, or a name spoken aloud. These moments are timed precisely through match cuts, dissolves, sound bridges, and montage sequences, drawing the audience into the protagonist’s psychological world.

One of the most powerful examples is the reveal that Jothi is Ammu, Maharaja’s daughter. This twist is not shown through dialogue, but through a series of visual cues  a scar, a flashback montage, a close-up of Selvam’s shocked face all orchestrated through careful editing. The moment hits with emotional force because of the accumulated suspense built by delayed revelation. Had the film used a linear timeline, this moment would have lost its impact, becoming predictable rather than profound.

Similarly, the final scene of Selvam’s suicide is not just a plot resolution; it is a culmination of emotional and visual storytelling. His blood merging into Jothi’s footprint is shown with near-poetic imagery, slowed pacing, and silent framing — communicating guilt, recognition, and irreversible damage without a single word. This form of visual editing transforms justice into symbolism, making the conclusion haunting and unforgettable.

Moreover, the editing rhythm shifts intentionally throughout the film. Action scenes are tight and fast-cut, while memory scenes are slow, often using longer takes and softer tones. This contrast helps the viewer distinguish between time layers while also guiding their emotional engagement. The editing mimics human memory and trauma — fragmented, triggered, and looping — especially in a story built on pain and revenge.

In conclusion, Maharaja is a masterclass in using editing not as a background technique but as a primary narrative force. It controls what the audience knows, when they know it, and how they feel about it. The film reminds us that in great cinema, editing is not just what holds the story together — it is what gives it life, mystery, and meaning.


Conclusion

Maharaja (2024) is not just a revenge thriller — it’s a deeply emotional and narratively intricate film that uses editing as its core storytelling tool. By shifting between past and present, the film mirrors the fragmented nature of memory and trauma. Its non-linear structure keeps the audience in suspense while gradually unfolding the protagonist’s pain and purpose. Each edit, each reveal, is timed not for shock alone, but for emotional resonance and moral impact.

Through layered timelines, symbolic imagery, and emotional pacing, Maharaja invites the viewer to engage with questions of justice, guilt, and redemption. It’s a film that demands attention not just to what is shown, but how and when it is shown. In the end, its power lies in how the story is constructed — not as a straight path, but as a haunting mosaic of moments that come together only when the final truth is revealed.


References



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This flipped learning activity was assigned by Dr. Dilip Barad to enhance students’ understanding of the novel, and to help them critically ...