Chhaava Movie Review | Filmfare.com (2025)

Chhaava (meaning lion's cub) is a riveting historical action drama that brings to life the valour of Maratha warrior king Sambhaji, portrayed by Vicky Kaushal. Based on the Marathi novel Chhava by Shivaji Sawant, the film chronicles the life and reign of Chhatrapati Sambhaji Maharaj, spanning from 1680 to 1689, a period marked by his relentless battles against the Mughal emperor Aurangzeb. The movie also features Rashmika Mandanna as Maharani Yesubai and Akshaye Khanna as the formidable Aurangzeb.

The story begins in 1680, following the death of Chhatrapati Shivaji Maharaj, a moment of great relief for Aurangzeb and his Mughal court, who view his passing as an opportunity to conquer the Deccan. However, they are blindsided when Sambhaji, Shivaji’s fearless son, strikes at Burhanpur, looting the Mughal treasury. This audacious act sparks a brutal war, and while Sambhaji prepares for the inevitable retaliation, political intrigue within his own family aids Aurangzeb in his quest for domination. What follows is a tale of betrayal, honor, and unyielding resolve.

While the film opens with a high-octane action sequence, it loses some momentum as the story unfolds. Several moments hint at internal turmoil within the Maratha empire, yet these elements aren't explored deeply enough. Laxman Utekar’s direction excels in crafting a gripping action film but falters in fully portraying the complexities of Sambhaji's character. The narrative focuses heavily on Sambhaji as a warrior but overlooks other facets of his remarkable personality. The film misses the opportunity to depict the bond between father and son—how Shivaji’s legacy shaped Sambhaji not only as a warrior but also as a good poet, scholar, administrator, and linguist. He spoke several languages, including Braj Bhasha, Sanskrit, Persian, and even English, yet these aspects of his multifaceted nature are barely acknowledged. Sambhaji was not just a lion-hearted soldier but also a man of intellect and diplomacy, capable of outmaneuvering rivals within his own family to retain his claim to the throne.

One of the few highlights in character depth is the friendship between Sambhaji and Kavi Kalash (Vineet Kumar Singh), a fellow warrior and poet. Their bond is beautifully captured in a heart-wrenching scene where they engage in a poetry competition while imprisoned and awaiting their grim fate. The poetic brilliance of Irshad Kamil shines through in these moments, lending a poignant touch to the narrative.

The film does not shy away from depicting the brutal torture of Sambhaji, offering viewers a visceral look at the harrowing events that shaped his final days. His defiance in the face of Aurangzeb’s offer of pardon is a highlight, earning him applause from the audience. Vicky Kaushal’s performance as Sambhaji is a tour de force. The actor immerses himself fully into the role, showcasing both the raw physicality of the character and glimpses of his softer, more tender moments as a husband and father. However, these quieter moments are few and far between, with the focus predominantly on his warrior persona. Kaushal's commitment to the role is evident in every scene, from the fierce action sequences to the moments of vulnerability.

Rashmika Mandanna brings grace and dignity to her portrayal of Yesubai, Sambhaji’s devoted wife. Her restrained performance, especially in her intimate moments with Sambhaji, conveys a deep emotional connection. However, it feels as though her voice has been dubbed by someone else. Akshaye Khanna, hidden under layers of prosthetics, delivers a cold and calculating portrayal of Aurangzeb. While his performance remains steady, his character’s tendency to kill messengers grows increasingly absurd, unintentionally veering into the comical.

Vineet Kumar Singh shines as Kavi Kalash, bringing depth to his role as a loyal friend. Diana Penty, playing Aurangzeb’s daughter, is portrayed as a sadistic figure, ordering the torture of Sambhaji in a way that unintentionally recalls the dynamics of a bondage-themed film. Ashutosh Rana delivers a solid performance as Sarsenapati Hambirao Mohite. Divya Dutta’s role as the scheming Soyarabai, Shivaji’s second wife, is underdeveloped, with the political intrigue taking a backseat to the action.

The action choreography in Chhaava is impressive and creatively executed, while the cinematography by Saurabh Goswami captures the grand scale of the battles. The editing by Manish Pradhan picks up pace in the second half, delivering a relentless sequence of action that keeps viewers on the edge of their seats. While AR Rahman’s background score is typically masterful, the use of electric guitar in the midst of tense sequences, reminiscent of Wagner’s Ride of the Valkyries, feels out of place in a period drama. A more culturally rooted score, using Indian tunes and instruments, would have better suited the historical setting.

In conclusion, Chhaava succeeds in delivering a high-intensity action film, anchored by Vicky Kaushal's powerhouse performance. However, it falls short in fully capturing the complexities of Sambhaji’s character, leaving much of his multifaceted legacy unexplored. The film is a stirring tribute to the warrior king, but it could have delved deeper into the man behind the legend.