Updated : 10 hours ago
Posted on February 25, 2025, at 9:43 AM PST
Vicky Kaushal’s historical drama Chhaava, which hit theaters on Valentine’s Day 2025, has become one of Bollywood’s biggest hits, crossing the Rs 300 crore mark and earning praise for its portrayal of Chhatrapati Sambhaji Maharaj, the valiant son of Chhatrapati Shivaji Maharaj. Directed by Laxman Utekar and produced by Maddock Films, the film celebrates Sambhaji’s courage and resilience against Mughal emperor Aurangzeb, with a stellar cast including Rashmika Mandanna, Akshaye Khanna, and others. However, amidst its box office success and critical acclaim, Chhaava has sparked a significant controversy that threatens to overshadow its triumph—the depiction of Maratha warriors Ganoji and Kanhoji Shirke and their alleged betrayal of Sambhaji Maharaj. This dispute has led to a Rs 100 crore defamation suit threat from their descendants, prompting director Laxman Utekar to issue an apology. Let’s dive into the row, the historical context, and the latest developments.
The heart of the controversy lies in Chhaava’s portrayal of Ganoji and Kanhoji Shirke, depicted in the film as trusted allies of Chhatrapati Sambhaji Maharaj who ultimately betray him by aligning with Aurangzeb. This betrayal, as shown in the movie, leads to Sambhaji’s capture, torture, and brutal execution in 1689, a pivotal and tragic moment in Maratha history. The film suggests that Ganoji and Kanhoji, portrayed by Marathi actors Suvrat Joshi and Sarang Sathaye, reveal Sambhaji’s location to the Mughals, cementing their role as traitors.
However, the descendants of the Shirke family—particularly Laxmikant Raje Shirke, the 13th-generation descendant, and his brother Deepak Raje Shirke—have vehemently condemned this depiction, calling it a “misinterpretation of historical facts” and an unjust tarnishing of their family’s legacy. They argue that their ancestors were loyal to Sambhaji and the Maratha empire, not betrayers. According to Deepak Raje Shirke, historical records, including the diary of Francis Martin, a French officer in the Maratha court, indicate that it was court scribes, not the Shirkes, who betrayed Sambhaji. The family claims they’ve been battling this “traitor” narrative for centuries, exacerbated by Shivaji Sawant’s 1979 novel Chhava, which popularized the same accusation, and now reinforced by Chhaava.
The Shirke family, with a 750-year history of ruling parts of Pune, Goa, Mumbai, and the Konkan, asserts that Ganoji Shirke was married to the daughter of Chhatrapati Shivaji Maharaj, and Sambhaji’s wife, Maharani Yesubai Bhonsale, was Ganoji’s sister. They argue that such familial ties make the betrayal implausible, as Indian tradition would not permit a man to make his sister a widow. In 2009, the family filed an RTI with the Directorate of Archives, finding no evidence supporting the Shirkes’ involvement in Sambhaji’s capture, further fueling their outrage.
Following Chhaava’s release, the Shirke family issued a legal notice to Laxman Utekar on February 20, 2025, demanding clarification, corrections, and an apology. They threatened a Rs 100 crore defamation lawsuit if their concerns were ignored, claiming the film’s narrative damages their reputation and perpetuates a false historical narrative. They’ve also warned of statewide protests across Maharashtra if their demands aren’t met, with family members reportedly gathering at their ancestral village of Shirkoli to plan their resistance.
Laxmikant Raje Shirke has publicly criticized the filmmakers for taking “creative liberties” with history, arguing that such portrayals harm the legacy of revered figures and their descendants. The family’s frustration stems from years of facing public suspicion and political exploitation of this narrative, amplified by social media and now the film’s widespread reach.
In response to the backlash, director Laxman Utekar reached out personally to Bhushan Shirke, another descendant, to offer an apology. Reports from local Maharashtra news outlets like Pudhari, Free Press Journal, and others indicate that Utekar expressed regret for unintentionally hurting the Shirke family’s sentiments. He clarified that Chhaava deliberately avoided mentioning the Shirkes’ surnames or their native village, using only the first names “Ganoji” and “Kanhoji” to avoid direct identification. Utekar stated, “We have only mentioned the names of Ganoji and Kanhoji in Chhaava, without referring to their surname. We’ve also made sure not to disclose the village they belonged to. Our intention was not to hurt the sentiments of the Shirke family. I sincerely apologize if Chhaava caused any discomfort.”
Despite this apology, the Shirke family remains unsatisfied, insisting on concrete changes to the film and threatening further action if their demands aren’t addressed. The controversy has sparked broader discussions on historical accuracy in cinema, the responsibility of filmmakers, and the impact of creative liberties on living descendants of historical figures.
Ganoji and Kanhoji Shirke were Maratha commanders and nobles with deep ties to the Bhosale family, rulers of the Maratha Empire. Ganoji, in particular, was related to Chhatrapati Shivaji Maharaj through marriage, and his sister, Yesubai Bhonsale, was Sambhaji’s wife. The Shirkes played significant roles in the Maratha resistance against Mughal rule, ruling parts of western India for centuries. Historical accounts are murky regarding their exact role in Sambhaji’s capture, with some literature, like Sawant’s novel, accusing them of betrayal, while others, including the Shirke family’s claims, assert their loyalty. The lack of definitive archival evidence has fueled the ongoing debate, making Chhaava’s portrayal a lightning rod for controversy.
This controversy highlights the challenges filmmakers face when adapting history for the screen, especially in India, where historical figures are often revered as cultural icons. Chhaava’s success at the box office—currently standing at Rs 465 crore worldwide—underscores its appeal, but it also raises questions about the balance between artistic freedom and historical accuracy. The backlash from the Shirke family, coupled with posts found on X expressing outrage and questioning the film’s facts, reflects a broader sentiment among audiences and historians wary of cinematic distortions.
While some fans, as seen in posts on X, appreciate Chhaava for shedding light on Sambhaji Maharaj’s lesser-known story, others are critical of its handling of historical figures like the Shirkes. The debate mirrors trending discussions on X about character morality in entertainment, though the Chhaava controversy is specific to historical representation rather than fictional comedy characters like those in The Office.
As of February 25, 2025, it remains unclear whether Chhaava’s makers will make changes to address the Shirke family’s concerns or if the legal battle will escalate. The film continues to draw audiences, but the controversy could impact its legacy and public perception. Filmmakers may need to engage in dialogue with historians and descendants to navigate these sensitive issues, ensuring future projects respect historical narratives while maintaining creative integrity.
This row serves as a reminder of the delicate balance between storytelling and historical responsibility, leaving audiences to ponder: Can cinema honor the past without rewriting it? For now, Chhaava stands as both a cultural milestone and a cautionary tale in Bollywood’s exploration of history.
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Updated on February 25, 2025, at 9:48 AM PST
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