FILM STUDIES:MAHARAJA (2024)

 

FILM STUDIES WORKSHEET:

ANALYSING EDITING & NON-LINEAR

NARRATIVE IN MAHARAJA (2024).

                          

This blog is part of a film study on the Tamil movie Maharaja (2024), guided by Prof. Dilip Barad. It explores the film’s narrative structure, use of non-linear storytelling, character development, and cinematic techniques to better understand how the story unfolds and engages the audience. Task prompt

Film Study 

Film studies is an academic discipline that deals with various theoretical, historical, and critical approaches to cinema as an art form and a medium. It is sometimes subsumed within media studies and is often compared to television studies 

PART A: BEFORE WATCHING THE FILM

1. WHAT IS NON-LINEAR NARRATION IN CINEMA?

Non-linear narration in cinema refers to a storytelling technique where events are not presented in a straightforward, chronological order. Instead of following a linear timeline—from beginning to middle to end—non-linear narratives often jump back and forth in time, using flashbacks, flash-forwards, dream sequences, or parallel timelines. This approach allows filmmakers to reveal important details gradually, create suspense, and reflect the emotional or psychological state of characters. Non-linear storytelling engages the audience more actively, encouraging them to piece together the plot as the film unfolds. It is often used to enhance dramatic tension, explore complex themes like memory, trauma, or identity, and add depth to character development. Films like Memento (2000), Pulp Fiction (1994), and The Prestige (2006) are classic examples of this technique. In the Tamil film Maharaja (2024), non-linear narration is used effectively to slowly uncover the mystery behind the missing “Lakshmi” and to emotionally involve the audience in the protagonist’s journey of grief, revenge, and closure. CLICK HERE

Example

Non-linear narration is a storytelling technique where events are presented out of chronological order. Instead of following a straight timeline, the film jumps between past, present, and future.

In Pulp Fiction (1994), Quentin Tarantino uses non-linear narration to:

• Show events out of sequence

• Keep viewers engaged and curious

• Reveal character depth and irony

• End the film with a scene that actually happens mid-story

This style creates a puzzle-like structure where the audience pieces together the story, making the viewing experience more interactive and thought-provoking.

2.HOW CAN EDITING ALTER OR MANIPULATE THE PERCEPTION OF TIME IN FILM?

Editing plays a crucial role in manipulating time in film. Techniques like flashbacks transport viewers to the past, revealing backstory or character motivation. Ellipses skip over unimportant or long durations, compressing time for narrative efficiency. Cross-cutting shows events happening at the same time in different locations, building suspense. Parallel editing alternates between two or more storylines, making them feel simultaneous and interconnected. Montages condense time through a sequence of short clips, often showing progression or change. These editing techniques reshape our perception of time, making it flexible — expanding, compressing, or even looping it — to enhance storytelling and emotional impact

PART B: WHILE WATCHING THE FILM

Maharaja — Narrative Order as Shown in the Movie

/ Sequence	Approx. Timestamp	Time Period	Visual or Editing Clues	Narrative Purpose
1. Report at police station	00:15:00	Present	Flat lighting, calm pacing	Begins mystery — Maharaja reports “Lakshmi” missing; audience thinks it's a person
2. Police interrogation begins	00:20:00 – 00:30:00	Present	Tense BGM, jump cuts	Raises suspicion about Maharaja’s mental state
3. Flashback: Selvam’s criminal past	00:30:00 – 00:40:00	Past (7 years ago)	Match cuts, gritty look, unclear link	Introduces antagonists without context
4. Flashback: Daughter’s accident	00:45:00	Past (15 years ago)	Warm tones, slow motion, soft emotional music	Establishes emotional significance of dustbin ("Lakshmi")
5. Ongoing police investigation	00:50:00 – 01:00:00	Present	Close-ups, faster pacing, tense background score	Police try to uncover the truth about Lakshmi and Maharaja
6. Memory flashes of Jothi	01:05:00 – 01:10:00	Past (mixed)	Intercut flashbacks	Builds emotional bond between Jothi and Maharaja
7. Reveal of Jothi’s identity + Lakshmi's truth	01:15:00 – 01:25:00	Present + Past blended	Cross-cutting, emotional montage	Major twist: Jothi was adopted; Lakshmi = sacred dustbin
8. Final confrontation and revenge	01:30:00 – 01:50:00	Present (with flashbacks)	Parallel editing, intense visuals	Maharaja kills Selvam; full context and motive now clear
9. Emotional resolution / closure	01:55:00 – 02:05:00	Present	Slow pacing, soft lighting, calm tone	Truth revealed to others; Maharaja finds peace
10. Ending scenes / credits	02:10:00 – 02:20:00	Present	Closing visuals, subdued music	Wrap-up and final emotional impression

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

Maharaja (2024) — Chronological Order of Events

3. Jothi grows up and becomes a nurse	Implied (referenced via memories)	Past (10–7 years ago)	Shown in flashbacks and photos	Builds emotional bond and dependency between Maharaja and Jothi
4. Jothi attacked by Selvam’s gang	00:30:00 – 00:40:00	Past (7 years ago)	Match cuts, gritty visuals	Catalyst for revenge — Jothi is harmed/killed by Selvam and gang
14. Ending scenes / credits	02:10:00 – 02:20:00	Present	Final montage, subdued tone	Closure for characters and audience; moral and emotional resolution
1. Daughter’s accident	00:45:00	Past (15 years ago)	Warm tones, slow motion, emotional music	Establishes emotional attachment to scissors ("Lakshmi") — saved his daughter with it
6. Lakshmi (scissors) is stolen	Just before 00:15:00	Present	No background score, flat lighting	Immediate trigger for present-day action — deeply personal loss
2. Adoption of Jothi	~01:15:00 (revealed in flashback)	Past (13–14 years ago)	Emotional montage	Maharaja adopts a girl after loss, begins a new chapter in life
12. Final confrontation and revenge	01:30:00 – 01:50:00	Present (with past flashbacks)	Parallel editing, raw visuals	Maharaja kills Selvam; justice and emotional payoff delivered
7. Report at police station	00:15:00	Present	Flat lighting, calm pacing	Maharaja reports "Lakshmi" missing; audience misled to think Lakshmi is a woman
11. Reveal of Jothi’s identity + Lakshmi's truth	01:15:00 – 01:25:00	Present + Past	Emotional montage, cross-cutting	Major twist: Jothi was adopted, Lakshmi = scissors, not a person
Scene / Sequence	Approx. Timestamp in Film	Time Period	Visual or Editing Clues	Narrative Purpose
9. Ongoing investigation	00:50:00 – 01:00:00	Present	Faster pacing, intense visuals	Police connect clues about missing people, scissors, and his daughter
8. Police interrogation begins	00:20:00 – 00:30:00	Present	Jump cuts, tense background music	Police grow suspicious of Maharaja’s behavior and past
10. Memory flashes of Jothi	01:05:00 – 01:10:00	Past (mixed)	Intercut flashbacks	Reinforces emotional depth of Jothi–Maharaja relationship
5. Maharaja begins planning revenge	Implied (over several years)	Past to Present	Not directly shown — implied through clues and investigation	Silent transformation  of Maharaja into a man seeking justice
13. Emotional resolution / closure	01:55:00 – 02:05:00	Present	Calm pacing, soft lighting	Truth comes out; emotional healing begins

2. Timeline of How Events Are Revealed to the Audience (Screen Time)

Note how the editor/filmmaker delays or reshuffles events for suspense or emphasis.

Order	Event	Approx. Timestamp	How the Editor Delays or Reshuffles for Suspense or Emphasis
1	Maharaja reports “Lakshmi” missing	00:15:00	Introduced as a mystery — audience assumes Lakshmi is a woman, creating initial suspense
2	Police interrogation of Maharaja	00:20:00 – 00:30:00	Builds suspicion around Maharaja’s mental state; truth is withheld
3	Introduction of Selvam and gang	00:30:00 – 00:40:00	Villains shown early without explanation; connection to Jothi hidden
4	Flashback to daughter’s accident	00:45:00	Emotional scene shown without full context of dustbin significance
5	Police investigation deepens	00:50:00 – 01:00:00	Detective angle used to increase tension; facts about Jothi and Lakshmi still held back
6	Memory flashes of Jothi	01:05:00	Creates emotional attachment before revealing her identity
7	Major reveal: Jothi was adopted, Lakshmi = scissors	01:15:00 – 01:25:00	Twist revealed late for maximum emotional impact; reframes entire story
8	Final confrontation and revenge against Selvam	01:30:00 – 01:50:00	Now that motives are clear, the climax becomes morally and emotionally powerful
9	Emotional resolution and truth exposed	01:55:00 – 02:05:00	Delayed catharsis allows audience and characters to process truth together
10	Closing scenes and credits	02:10:00 – 02:20:00	Emotional wrap-up after narrative payoff

 3. Brief Reflection 

The editing in Maharaja (2024) plays a crucial role in shaping the audience's understanding of the characters and events. By presenting the story non-linearly, the film initially withholds critical information—such as the true identity of “Lakshmi” and Jothi’s background—which leads the audience to make certain assumptions. This deliberate confusion creates suspense and emotional tension, making Maharaja appear mysterious, even suspicious, at first. However, as the narrative unfolds through flashbacks and delayed reveals, we gradually understand the depth of his pain and the moral complexity of his actions.

One of the most powerful surprises was the reveal that Lakshmi is not a person, but a pair of scissors with emotional significance. The timing of this twist—after we’ve already begun to judge Maharaja—completely reconfigures our perception of him and adds immense emotional weight. If the film had followed a linear narrative, this emotional and psychological transformation would have been lost. The non-linear structure allows the audience to experience confusion, empathy, and catharsis, just as the characters do. It enhances both the intellectual engagement (through mystery) and the emotional payoff, making the story not just about revenge, but about grief, healing, and misunderstood love.

PART D: EDITING TECHNIQUES DEEP DIVE

Maharaja (2024) – Editing Techniques Analysis (New Scenes)

Scene	Editing Technique	Impact on Viewer	Notes
Police Interrogation of Maharaja (≈00:20:00–00:30:00)	Jump cuts, tight close-ups, tense background music	Creates suspicion and discomfort; viewer begins to doubt Maharaja’s stability	Editing disrupts flow of conversation, reflecting emotional tension and mental confusion
Introduction of Selvam and His Gang (≈00:30:00–00:40:00)	Flashback, match cuts, gritty color grading	Adds danger and intrigue; viewer sees villainy without understanding full context	Editor withholds connection to Jothi, creating suspense; Selvam is introduced early but without clarity

1. Police Interrogation Scene (00:20:00 – 00:30:00)

• What is happening in the scene?

Maharaja is questioned by the police after reporting “Lakshmi” missing. His vague answers confuse and worry the officers.

• Which editing techniques are used?

Jump cuts, tight close-ups, and a tense background score are used to disrupt the rhythm and build psychological tension.

• How does the editing influence pacing, emotion, or information flow?

The editing creates a sense of unease, slows the viewer’s understanding, and builds suspense by withholding clear information.

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2. Introduction of Selvam and His Gang (00:30:00 – 00:40:00)

• What is happening in the scene?

A flashback shows Selvam and his gang involved in criminal acts, but their connection to Jothi or Maharaja is not revealed yet.

• Which editing techniques are used?

Use of flashback, match cuts, and gritty color grading to separate the past from the present and create tension.

• How does the editing influence pacing, emotion, or information flow?

The editing slows the scene for character introduction, adds emotional distance, and delays critical context to build suspense.

Thak You........

Reference: 

Barad, Dilip. “Dilip Barad | Teacher Blog: Film Studies: An Introduction.” Dilip Barad's Blog, 12 September 2021, https://blog.dilipbarad.com/2021/09/film-studies-introduction.html. Accessed 15 July 2025.