Imagine a little kid in the 19th century asking his parents why women wear veils and if gods can speak their language. So it is no surprise that he grows up to be a revolutionary who fights for the right causes. Netflix’s latest offering, ‘Maharaj’, marks the debut of Aamir Khan’s son Junaid Khan who plays Karsan Das Mulji, a journalist who dared to stand up even when the world and circumstances were against him. Jaideep Ahlawat also stars in the film, where he once again delivers an impressive performance as the self-proclaimed godman JJ.

‘Maharaj’ is based on the real-life ‘1862 Maharaj defamation case’ and is adapted from Saurabh Shah’s book of the same name. The film was scheduled to release on June 14 but was delayed due to a petition filed by a Hindu organisation for hurting religious sentiments. After the case, most viewers already know what to expect from the film.

It is a David and Goliath story, where a Dalit named Karsan Das, haunted by a personal tragedy, decides to fight against the atrocities of religious leaders. He uses the power of his pen to expose how JJ had sexual relationships with female followers, including minors, and how even men were expected to offer their wives to him as a symbol of devotion.

Exposing the sad truth of these rituals, Karsan not only fights against powerful leaders but also the blind devotion of the people around him. There is a moment where one of the survivors defends his hunter saying that this is the only way to get a better life. This might seem unrealistic to many, but it highlights how naïve minds are manipulated by people. Given that the story is set a century before Independence, you can’t help but admire the courage shown by Karsan Das to go against such ‘religious’ beliefs at that time.

It is also a reminder of how we as a society have failed to eradicate these practices. On one hand, we have reached the moon, on the other, we fall for someone who gives us false hopes of a better life and the afterlife. At the end of the film, the narrator (beautifully voiced by Sharad Kelkar) mentions how Karsan’s fight put an end to this exploitation. You can’t help but roll your eyes, remembering how people still defend self-proclaimed godmen like Asaram Bapu, who has been convicted of raping a minor.

When Karsan Das says that the way to attain salvation is through your actions, not by satisfying the sexual desires of these ‘leaders’, you want the message to resonate. But given that faith is such a subjective and sensitive subject today, you wonder if it can ever be taken objectively.

Coming to the performance, Junaid Khan, for the first time, appears confident and at ease on screen. ‘Maharaj’ is an unconventional and daring choice for a debut, and Khan manages to grab your attention. It is a boon for this star kid that he does not resemble his father at all in terms of looks, style or dialogue delivery. He needs a little polishing, but he is quite promising, especially when it comes to scenes that demand emotion, which is a challenge faced by most young actors.

As expected, Jaideep Ahlawat has once again given a brilliant performance. He is effortless as JJ, his restrained acting and constant, unsettling smile make you hate his onscreen persona. Shalini Pandey, in her short role, tugs at your heartstrings. She also reminds you a lot of Alia Bhatt. Sharvari Wagh, riding high on the success of ‘Munjiya’, disappoints due to weak writing. Her character, Viraj, who is impressed by Karsan’s valour, seems annoying. Meher Vij as JJ’s wife is also believable.

Ironically, despite being based on a real case, the court sequences emerge as the weakest parts of the film. Junaid’s acting seems a bit theatrical, and the witness’ monologue in the witness box sounds preachy. The writer-director team has failed to maintain the requisite thrill and drama in such courtroom scenes.

The music of the film is also quite average, but the project doesn’t rely too much on song-dance sequences. While the makers successfully recreate the 1800s, the characters sometimes appear more confident and extroverted than expected from that era, especially in matters of courtship and love expressions. However, full marks must be given to director Siddharth P Malhotra for handling such a sensitive film skillfully. It must have been like walking on a thin rope. Well, the grip was a little weak, but he managed to walk successfully.