A blood -soaked stab (Vicky Kaushal) tied in chains is called an erate Aurangzeb (Akshaye Khanna) a long monoton. The Mughal emperor replied to the cheek, ‘Maja nahi came(I did not enjoy). His refutation expressed to some extent how it was to see a 2 -hour -40 -minute long drama based on the life of Chhatrapati Sambhaji Raje.

Chhawa has its intention at the right place – it wants to demonstrate the life of Sambhaji Raje – a figure we had read in our history books, but one who was always seen by the legacy of his father Chhatrapati Shivaji Raje. For someone born in the shadow of a warrior and a king, the curiosity of his rise, his collapse, his tests and tribulations as a prince, and then a king is exciting.

Director Laxman YouTeker starts this very ambitious journey with a earnest desire, but what is disappearing in the film is emotional connect. Initially we see a long, tedious introductory scene of Chha, which has been over-choreographed to see that it is now the prestigious film of Gerard Butler, all the iconic films, 300-slow-motes with blood blood Wants to drip. , Close-up frames of his fierce eyes and of course, a lot of sword quarrels and hands-by fought. Do you get flow?

Here’s the trailer:

https://www.youtube.com/watch?v=NSC5phxs19y

Thankfully, the second half not only arises in motion, but also gives some direction to the first half of sketches and all-over-the-pleas. As Aurangzeb, Akshaye Khanna has not only gone a distance to see the part with prosthetic, but he only acts a lot through his foggy eyes.

As Aurangzeb, he speaks less, but makes her gaze and conversation on the walk paper. Rashmika tries his best to become an emotional anchor of Mandanna Chheva, but suddenly the character arc prevents her from showing her ‘expressive eyes’. The execution of the prick is an issue. With a lot of time limit with the story and suddenly take us forward and back, it becomes loud to hold with battle scenes, deaths and various characters.

In addition, the background score is so loud that it sinks what the characters are trying to do in the frame. The songs do not live with you or have you chosen a tune that is in the sink with the struggle of Chhava. Instead of investing in his pain and pain, you get distracted by the contradiction around his struggle.

On paper, dialogue and views may look simple, but on screen, they are caught on the web of their own device. However, the shaded is not a lost reason. Some have strong moments and visual mood and tempo. Vicky Kaushal’s honesty and in this real -life warrior, they all do work due to the determination to breathe life, whose life has been chronic in various versions and testaments.

The climax is one of the most disturbed and violent end you will see on the big screen. If you have seen Mel Gibson’s The Passion of the Christ, it is a level of cruelty and torture. The intention is to show the limit of their loyalty towards their people and land, but the views are not for the unconscious heart.

See this for Vicky’s performance. His commitment to his craft is unique. The drunken does not aim to separate extraordinary, but it mastery the art of navigating the mainstream water without completely sinking its voice.

3 out of 5 stars for the chhawa.