Maharaja: Analysing Editing and Non-linear Narrative

 Hello Everyone!

This blog is assigned by Pro. Dilip Bard sir ,as part of Analysing Editing and Non-linear Narrative in the Movie Maharaja which produced by Nithilan  Swaminathan.

Objective of this blog is that : 

To critically observe and analyze how editing shapes narrative structure in Nithilan Swaminathan’s Tamil action-thriller Maharaja through multiple timelines and temporal transitions. This worksheet helps students identify how cinematic time is constructed and how editing contributes to suspense, revelation, and audience engagement.

For more information you can click here.

Part - A : Before watching the film

WHAT IS NON-LINEAR NARRATION IN CINEMA? USE EXAMPLES FROM FILMS YOU’VE SEEN PREVIOUSLY.

What is Non-Linear Narration in Cinema?

Non-linear narration is a way of telling a story in which events are not shown in order  the movie jumps between past, present, or future, or reveals key events later, not when they actually happened. This helps create suspense, mystery, or a deeper emotional connection.

Examples from Films I’ve Seen:

1. Drishyam (Part 1 & 2)

In Drishyam, the story is told with flashbacks and hidden timelines. We don't see the full truth of what happened to the missing boy until much later in the movie. The editing reveals past events slowly, as the police investigate. This non-linear structure helps build suspense and makes the final twist more powerful.

In Drishyam 2, the narrative again jumps between different time periods. Vijay’s actions from the past are revealed gradually, and we keep learning new information that changes how we see the characters.

2. Nenokkadine (Ek Ka Dum)

In this movie, the main character suffers from memory loss and often sees hallucinations. The story jumps between real events, his imagination, and past memories. Because of this, the audience is also unsure what is real and what is not  just like the character. This is a strong use of non-linear storytelling to create confusion, mystery, and emotional impact.

HOW CAN EDITING ALTER OR MANIPULATE THE PERCEPTION OF TIME IN FILM? MENTION EDITING TECHNIQUES LIKE CROSS-CUTTING, FLASHBACKS, PARALLEL EDITING, ELLIPSES.

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

In films, editing can change how we experience time it can make time feel faster, slower, or jump between the past, present, and future. The editor decides how and when to show certain events. This helps build suspense, emotion, or surprise.

 Editing Techniques That Manipulate Time:

1. Flashbacks

• Show events from the past while the story is happening in the present.
• Help explain a character’s backstory or reveal hidden truths.
• Example: In Drishyam, we see flashbacks of what really happened to the missing boy, which are not shown in real-time.

2. Cross-Cutting

• Cutting between two different scenes that are happening at the same time in different places.
• Builds tension or shows connection between characters or events.
• Example: A scene of a father running to save his daughter is cross-cut with the villain reaching her house.

3. Parallel Editing

• Similar to cross-cutting, but often used to show two or more storylines moving forward together, even if in different time periods or locations.
• Used to compare or contrast events.
• Example:  Nenokkadine, the movie sometimes shows his past trauma alongside the present-day investigation.

4. Ellipses

• Skipping over time to move the story forward faster.
• Shows only the important parts and leaves out unnecessary moments.
• Example: A character starts training, and the next scene shows them already strong  the months of hard work are skipped.
• 
  

Part - B While watching the film 

• Identify at least 8 key narrative transitions where the timeline shifts.

 • Pay attention to editing techniques such as match cuts, jump cuts, dissolves, crossfades, sound bridges, etc.

 • Note audio cues, costume changes, dialogue references, or mise-en-scène indicators that help locate the timeline

PART C: NARRATIVE MAPPING TASK

1).    CONSTRUCT A TIMELINE OF EVENTS AS THEY OCCUR CHRONOLOGICALLY (STORY TIME):

2. CREATE A SECOND TIMELINE OF HOW EVENTS ARE REVEALED TO THE AUDIENCE (SCREEN TIME

3).    Brief Reflection: The Impact of Non-Linear Editing in Maharaja

The non-linear editing in Maharaja deeply enriches the narrative by withholding key information and revealing it gradually. This storytelling technique forces the viewer to actively piece together the puzzle, making the experience far more engaging. Initially, the protagonist Maharaja appears eccentric, even comical, as he emotionally complains about a missing dustbin. However, as the film unfolds through flashbacks, sound cues, and repeated storytelling, we realize the dustbin (Laxmi) symbolizes a traumatic past   it’s the only surviving link to his daughter Jyoti.

One of the most powerful reveals   that Jyoti is not his biological daughter but Selva’s  is emotionally shocking because it is delayed and carefully edited into the narrative. Rather than being told directly, we discover the truth along with the characters, especially through Nallasivam's realization, which heightens empathy.

Had the film followed a linear format, the emotional depth and suspense would have been significantly diluted. The nonlinear narrative not only builds mystery and curiosity but also mirrors the fractured, painful memory of the protagonist  making the audience feel the trauma as he experienced it.

PART D: EDITING TECHNIQUES DEEP Dive 

These two scenes highlight how Maharaja (2024) goes beyond traditional editing. By using visuals, timing, and emotional pacing, the film transforms ordinary moments into powerful revelations. Editing isn’t just a technical craft here  it becomes a vital storytelling tool that shapes how we experience truth, trauma, and transformation.

References:

Barad, Dilip. “ANALYSING EDITING and NON-LINEAR NARRATIVE IN MAHARAJA.” Research Gate, July 2025, www.researchgate.net/publication/393653801_ANALYSING_EDITING_NON-LINEAR_NARRATIVE_IN_MAHARAJA.

Maharaja. Directed by Nithilan Saminathan, Passion Studios, Think Studios, The Route, 2024.

Radhakrishnan, Roopa. “Maharaja Movie Review: An engaging but engineered film that works even with faults.” Times of India, 14 June 2024,

 https://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/maharaja/movie-review/110948075.cms. Accessed 15 July 2025.