Divya Paledhara's blogs: “Narrative as Mystery: Time, Trauma, and Editing in Maharaja (2024)”

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This task is assigned by Prof. Dilip Barad sir as part of a film studies module. This blog explores how editing functions not only as a technical craft but as a storytelling strategy in the Tamil film Maharaja (2024) by Nithilan Swaminathan. Through narrative transitions, time manipulations, and emotional reveals, we learn how editing builds suspense and redefines cinematic time, and about this blog what's main point so, Click here

🔷 Introduction: When Storytelling Breaks the Clock

👉🏻 Maharaja is not a typical revenge thriller. It disguises a tragic and emotional story beneath layers of mystery, silence, and suspense. What starts as a bizarre police complaint about a stolen dustbin turns into a psychological narrative of loss, grief, and justice. This transformation is made possible by the non-linear narrative structure and brilliant editing that pieces together three timelines—15 years ago, 7 years ago, and the present—without confusing the audience.

In this blog, I will explore the theory, execution, and timeline breakdowns of how editing serves as the soul of Maharaja's storytelling.

◾️PART A: Understanding Non‑Linear Narrative & Editing

1. What is non-linear narration in cinema? Use examples from films you’ve seen previously.

Non-linear narration is a storytelling technique in cinema where events are not presented in chronological order. Instead of a straightforward sequence (beginning → middle → end), the narrative jumps across different time periods—often using flashbacks, flash-forwards, dreams, or parallel timelines. This method challenges viewers to piece together the story like a puzzle, often enhancing suspense, emotional depth, or thematic complexity.

For example:

In Christopher Nolan’s Memento (2000), the story unfolds in reverse, placing the audience in the mind of the protagonist who suffers from short-term memory loss. This structure intensifies the experience of confusion and mystery.

In Quentin Tarantino’s Pulp Fiction (1994), multiple storylines are told out of sequence. We see the aftermath of events before their causes, creating irony and layered meanings.

Also I have watched A good example is the Hindi film Drishyam (2015). In this film, the timeline is cleverly hidden. The main character, Vijay, creates a fake alibi to protect his family from a murder investigation. The film does not show everything at once. It uses flashbacks and delayed revelations to slowly show what really happened. The audience is made to believe one version of the story, but later learns the truth piece by piece. This non-linear storytelling increases tension and makes the final reveal more powerful. It keeps viewers engaged and surprised, showing how editing and timeline structure can shape a film’s mystery.

In Maharaja (2024), non-linear narration is used to conceal critical information—like the identity of “Lakshmi,” the motive behind the crime, and Maharaja’s internal trauma. By revealing key events only at emotionally significant moments, the film deepens our connection to the protagonist while sustaining a sense of mystery.

2.How can editing alter or manipulate the perception of time in film?

In Maharaja (2024), editing plays a vital role in manipulating time to create suspense, emotional engagement, and narrative tension. The story is not told in a straight, linear fashion. Instead, the editor uses tools like flashbacks, cross-cutting, ellipses, match cuts, and sound bridges to blur the boundaries of time and gradually reveal key information.

Below are the key editing techniques used in Maharaja to manipulate time:

1. Flashbacks

Definition: Scenes from the past inserted into the present timeline.

In Maharaja:

Flashbacks are used throughout the film to show important events from the past—especially scenes related to Maharaja’s daughter, Lakshmi. These flashbacks appear without warning and interrupt the present timeline. They help the audience understand the emotional pain Maharaja is carrying. But the flashbacks don’t reveal everything at once—they are carefully edited to hide key details until the right moment, especially about Lakshmi’s fate.

2. Ellipses (Time Skips)

The film skips over certain time periods without showing them. This is done to hide events and create suspense. For example, the time between the crime and the police report is not shown clearly at first. The audience is forced to guess what happened during that missing time. This time-skipping makes viewers curious and keeps them thinking.

3. Cross-Cutting / Parallel Editing

Maharaja often switches between present-day events (like the police investigation) and scenes from the past (such as life with Lakshmi or the crime itself). These cuts are done in a way that connects emotional moments across time. The audience sees how the past still affects Maharaja’s present behavior. It also helps create tension, as we keep comparing the two timelines and searching for clues.

4. Sound Bridges

Sounds from past scenes are used in present-day scenes. For example, we hear Lakshmi’s voice or laughter even when she is not shown on screen. This use of sound connects two different time periods emotionally. It shows how Maharaja’s mind is still stuck in the past, even though he is physically in the present. It also keeps Lakshmi present in the story, even when she’s not visible.

5. Match Cuts and Visual Transitions

The film uses smooth visual transitions to go from one timeline to another. For instance, objects like the dustbin, a broken glass, or a comb act as links between past and present. This helps the audience follow the non-linear narrative without getting confused. These visual cues make time jumps feel natural and emotional.

◾️ Part B : While Watching the Film

The film Maharaja does not follow a straight timeline; instead, it uses editing to shift between multiple temporal layers. To better understand how the story unfolds through visuals and transitions, I have mapped eight significant narrative shifts that occur during the film. These shifts help identify how the editor constructs cinematic time, moving between past and present to build suspense and emotional weight.

👉🏻 You can refer to the detailed table below Or Click here to view the full version in Google Docs.

Scene/Sequence	Approx. Timestamp	Time Period	Visual or Editing Clues	Narrative Purpose

1. Maharaja enters the police station