ANALYSING EDITING & NON-LINEAR NARRATIVE IN MAHARAJA (2024)

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FILM STUDIES WORKSHEET: 

ANALYSING EDITING & NON-LINEAR 

NARRATIVE IN MAHARAJA (2024)


This blog is part of a studio activity for the unit An Introduction to Film Studies by Dilip Sir. 


PART A: BEFORE WATCHING THE FILM


What is Non-Linear Narration in Cinema?

Non-linear narration in cinema is a storytelling technique where events are shown out of chronological order. Instead of following a straight path from beginning to end, the story jumps between different time periods—such as past, present, and future—or rearranges events for emotional or dramatic effect. This style is often used to build suspense, create surprise, or give the audience a deeper understanding of characters and their motivations. It encourages viewers to actively engage with the plot and piece together the story on their own, making the experience more immersive and thought-provoking. Filmmakers use this method to reveal key information gradually and to emphasize important themes or character transformations.

A recent Bollywood example of non-linear narration is the film “Shershaah” (2021). While telling the life story of Captain Vikram Batra, the film uses flashbacks and time shifts to build emotional impact and explore different phases of his journey.


How Can Editing Alter or Manipulate the Perception of Time in Film?


Editing plays a very important role in how we see and understand time in a film. It can make time feel faster, slower, or even out of order. Editors use different techniques to control how the story is told and when the audience gets information.


For example, flashbacks take us back to past events, while ellipses skip over time to move the story forward quickly. Cross-cutting shows two different events happening at the same time, which builds tension. Parallel editing shows different storylines side by side, helping the viewer understand how they connect.


These editing methods can change the mood, build suspense, or create surprise. They help the audience feel what the characters are going through and keep the story interesting. By changing how time is shown, editing makes the film more powerful and engaging.


PART C: NARRATIVE MAPPING TASK – Maharaja (2024)


1. CHRONOLOGICAL TIMELINE (STORY TIME)


This is the actual order of events as they would have happened in real life.


Order Event Description


1 Maharaja is a widower raising his daughter after a tragic accident.

2 His wife dies in a truck accident; a dustbin (Lakshmi) saves their daughter.

3 Maharaja raises his daughter Jothi with care and love.

4 Selvam and Sabari (burglars) break into Maharaja's home, assault, and rob him.

5 Jothi is kidnapped and presumed dead.

6 Maharaja adopts Ammu (Selvam’s biological daughter, unknowingly).

7 Maharaja discovers who ruined his life and begins taking revenge.

8 He kills Dhana and others, seeking justice.

9 Selvam realizes Jothi is actually his daughter (Ammu).

10 Selvam dies by suicide; the case is closed.



2. SCREEN TIME TIMELINE (ORDER SHOWN TO VIEWERS)


 This is how the story is revealed to the audience in the film — out of order for suspense and emotion.


Order Event Description


1 Maharaja reports a missing dustbin named Lakshmi to the police.

2 Investigation begins; police mock him.

3 Flashbacks reveal emotional bond with daughter and the dustbin.

4 Selvam and Sabari’s backstories are revealed in pieces.

5 Police suspect something deeper in Maharaja’s story.

6 Flashback to home robbery; audience realizes Jothi is missing or dead.

7 Maharaja kills Dhana; mystery deepens.

8 Police uncover Maharaja’s adopted daughter’s real identity.

9 Selvam finds out Ammu is his daughter.

10 Selvam commits suicide; 

audience connects final emotional pieces.








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