Punha Shivajiraje Bhosale Review: Another Classic Ruined with a Brainless Flick

RATING - ⭐ ✨ 1.5/5*

Punha Shivajiraje Bhosale Review Movie Talkies:

As someone who lives in Dadar, I still remember the hysteria surrounding Me Shivajiraje Bhosale Boltoy (2009). I watched it five times at Plaza Theatre, and every single viewing felt electrifying — the kind of experience you rarely get even from the biggest blockbusters. I often call it the Gadar of Marathi cinema. That film wasn’t just a hit; it was a phenomenon. It collected ₹25 crore nett when no other Marathi film had even crossed the ₹8 crore mark. It was a movement, a mass awakening, a moment of pride for Marathi cinema. Only Sairat (2016) managed to reach such legendary status later. But even the Manjule's blockbuster couldn't create the euphoria of "Garv Ahe Mala, Me Maharashtrian Asalyacha!" Mahesh Manjrekar was a key force behind that success — both as an actor and creator. He had already delivered another record-grosser with De Dhakka (2008), and then came Me Shivajiraje Bhosale Boltoy, where he stepped into the shoes of the great Chhatrapati Shivaji Maharaj. His portrayal was powerful, emotional, and inspiring — one of the finest of his career. To this day, I can confidently say that Maharashtrian audiences can’t imagine anyone else in that role. Afterward, Manjrekar continued his streak with memorable films like Kaksparsh and Natsamrat, proving his versatility as a director and storyteller. But now, I genuinely wonder — where is that Mahesh Manjrekar gone? I wouldn’t mind if he delivered a few bad films, that happens to everyone. But why is he tarnishing the legacy of his own classics with unnecessary sequels and spiritual spin-offs that no one ever asked for? He already butchered De Dhakka with a sequel that failed to justify its existence, and now he’s done the same with Punha Shivajiraje Bhosale. This film doesn’t just fail to live up to its spiritual predecessor — it completely destroys its soul.

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I can’t begin to explain how disappointing this film is, but I’ll try. Why would anyone write such a lazy, confused, and unintelligent script — and then present it with even worse execution? Punha Shivajiraje Bhosale feels like one of those brainless South Indian-style masala flicks where the hero roars, fights, and smashes everything in sight — except here, that hero happens to be Chhatrapati Shivaji Maharaj himself. That’s where the real pain begins. It’s deeply insulting to see one of the greatest icons of Indian history reduced to a testosterone-driven action caricature. The film turns our demi-God, our eternal inspiration, into a shouting, punching machine who keeps brawling with local goons. Why would anyone in their right mind make Shivaji Maharaj fight wrestlers, get arrested by corrupt cops, and then roar like a maniac after every punch and kick? To make it worse, he even calls the Chief Minister “Saheb.” Seriously? It’s painful — even offensive — to see a legendary king portrayed with such shallowness. The film makes a mockery of his valor and wisdom.

Punha Shivajiraje Bhosale Story:

The story begins with a little girl, Rukma (Tresha Thosar), the daughter of a poor farmer. Her father, struggling with debt and illness, takes his own life. Her mother, devastated, follows him into death by jumping into a well. In her grief and anger, Rukma cries out, blaming Shivaji Maharaj for her family’s suffering — a concept that’s not just absurd, but narratively laughable. Apparently, her cry reaches the heavens, and Raje (Siddharth Bodke) descends back to Earth to lead a revolution for struggling farmers. From this premise, you’d expect a socially powerful story exploring farmer suicides and government apathy — something in the emotional space of Gabhricha Paus. Instead, what we get is a full-blown masala action flick, where Raje turns into a one-man army fighting goons, corrupt politicians, and anyone who crosses his path. Every fifteen minutes, the film bursts into yet another over-the-top fight sequence that serves no real purpose. The message — if there ever was one — gets lost in a mess of noise and melodrama.

There are a few moments where the film almost redeems itself. One standout scene features Raje slapping a Gujarati man who refuses to let a “Ghaati” buy a flat in his housing society. The accompanying dialogue is powerful and reminiscent of the social intensity that made Me Shivajiraje Bhosale Boltoy such a hit. It’s one of those rare sparks in an otherwise dull and misguided script. I even wished the film had included a similar sequence addressing immigration of "Bhaiyyas” — that could have added layers of relevance and bite, and would have definitely made a viral reel. There’s also a brief attempt at secularism, as a Muslim character fights alongside Raje until his dying breath — a touching but underdeveloped detail. Unfortunately, these rare positives are drowned out by the sheer absurdity of the rest of the plot. The film’s commentary on corruption, politics, and social justice is clumsy and preachy. What could have been a sharp socio-political film ends up as a chaotic sermon with no emotional depth.

Among the cast, young Treesha Thosar — the National Award-winning child actor — is the film’s only genuine strength. After Naal 2, she once again proves her natural talent, delivering a performance far beyond her years. She holds your attention in every frame and overshadows all her senior co-actors. If there’s one reason to tolerate this film, it’s her. Siddharth Bodke, playing the role of Chhatrapati Shivaji Maharaj, gives his all — physically and emotionally — but the writing completely betrays him. No matter how hard he tries, he never feels like Shivaji Maharaj. His body language and expressions often feel exaggerated, almost like Nandamuri Balakrishna in a mindless Telugu action film. It’s not his fault — he’s clearly committed — but the material he’s given is simply unworthy. Mangesh Desai is passable; Shashank Shende, though reliable as always, doesn’t rise above the weak writing; Sayaji Shinde, a veteran, slips into his part effortlessly but has little to do. Bhargav Jagtap brings honesty to his portrayal of a specially-abled character, while Vijay Nikam and other supporting actors do what they can with limited scope. Siddharth Jadhav comes with a deadly look but the character looks very much dead from the first frame itself. Interestingly, I even noticed a couple of journalists friends appearing in small roles — which only reinforces the impression that the casting process wasn’t handled seriously.

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Technically, Punha Shivajiraje Bhosale is a disaster. The background score is misplaced and often too loud for the scenes it’s meant to complement. The cinematography lacks coherence — sometimes too dark, sometimes oddly bright — and the art direction feels amateurish. The editing is a nightmare; scenes drag endlessly, and transitions are jarring. The film looks and feels like a low-budget TV serial rather than a feature film about one of history’s greatest warriors. The action choreography belongs in the early 2000s, reminiscent of old Ravi Teja or Balakrishna flicks — but even those had entertainment value for their times. This doesn’t. Mahesh Manjrekar’s direction is, sadly, the film’s biggest letdown. The same filmmaker who gave us Natsamrat, Kaksparsh, and Astitva seems completely lost here. His once-sharp storytelling instincts have dulled into formulaic chaos. After FU, I thought he had just stumbled with one bad project. But with every new film, he proves me wrong — and not in a good way. Punha Shivajiraje Bhosale feels like the final nail in the coffin of his once-brilliant directorial career.

Punha Shivajiraje Bhosale Movie Review:

This isn’t just a bad film — it’s a painful betrayal. A filmmaker who once honored Marathi pride has now turned that pride into parody. When you take a cultural icon like Shivaji Maharaj and use him as a vehicle for cheap entertainment, you’re not just making a creative mistake; you’re committing emotional vandalism. The film could have been a heartfelt reflection on the struggles of farmers, on leadership, on accountability. It could have shown Raje’s ideals inspiring real-world change in the modern era. Instead, it settles for generic action scenes, lazy political symbolism, and shallow emotional manipulation. There’s no sense of history, no sense of divinity, no sense of purpose. Just empty shouting and random heroics. The message on farmers feels important but the execution is so full that you don't even care about that. When the credits finally rolled, I didn’t feel anger — I felt sadness. Sadness that a filmmaker I once admired so deeply could create something this hollow. Sadness that the legacy of Me Shivajiraje Bhosale Boltoy has been trampled for the sake of a spin-off that no one wanted. Sadness that a story about Shivaji Maharaj — the ultimate symbol of self-respect and courage — was reduced to a senseless, overacted action film. If I could speak directly to Mahesh Manjrekar, I’d say this: some legacies should never be touched unless you can add something truly meaningful. You gave us pride once. You gave us cinema that stirred our souls. But with Punha Shivajiraje Bhosale, you’ve left us with guilt — guilt for watching our hero reduced to a caricature. To sum up, Punha Shivajiraje Bhosale is a colossal misfire on every level — story, direction, performances, and emotion. It’s loud when it should be powerful, hollow when it should be heartfelt, and offensive when it tries to be inspiring.

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