Review of Raavanan (2010) by Smarojit C — 20 Jun 2010

Indian cinema as a commercial medium has its roots in both Indian and Western classics and epics. The influence of Ramayana and Mahabharata in mainstream as well as art house cinema has always been palpable. Thus it came as no surprise when one of India's pioneer directors, known mostly for his appeal to both the masses and the classes, decided to "formally" adapt Valmiki's epic in modern day India.

Whether the film is actually set in modern day India or not is not the only question one asks after watching the 2 and a half hour ode to India's most loved love story. So when a mysterious looking Beera (Bachchan), collides into an unsuspecting Ragini (Rai)'s canoe, one expects some scintillating drama to follow. Next, if you have a medley of independent scenes, describing the antics of the clay and mitti covered Beera, you feel a sense of excitement growing to see what happens next. Now, if you are a Mani Ratnam fan, it wouldn't be hard to believe that he chooses elaborate conversations to build up the drama. It worked before and it should have worked now. But still it doesn't, surprisingly.

"Raavan" stretches beyond acceptable limits to draw up suspense and drama. As a matter of fact, the awe-invoking scenes of a leading Hindi cinema heroine performing dare devil stunts, with wounds inflected all over her, fails to surprise you after the initial excitement dies down. So there is no emotional connect with Ragini Pratap as she tries to first fight and later re-consider her notions about the Indian Robin Hood, who doesn't hide his growing attraction towards her. So hereby begins the cat and mouse chase between the "good cop" Dev (Vikram) and his troop (Govinda, Dwivedi), and the anti-hero and his loyal sidekicks (Kissan, Gehi). Now how is that for an adapted screenplay?

"Raavan" plays out like an ongoing allegory executed to invoke awe and surprise, but written with minimal consideration of a stable narrative. The screenplay in the first half relies on separate scenes to take the story forward, which when put together makes no sense at all. In spite of all the confusion that prevails on screen, not even the most stoical of detractors would fail to notice the visual magnificence which single handedly makes the film watchable. Santosh Sivan's camera moves like a lucidly written poetry in motion while Shaad Ali's creative design would put even many Hollywood projects to shame. The shot of an unconscious Rai Bachchan spread across a creaking leafless tree is an impeccable example of flawless art direction.

After a long and uneventful first half, the second half, thankfully, brings two twists in the tale. Neither of them shocks you. Maybe it is for the simple fact that the first twist has nothing new to offer, while the second one doesn't connect emotionally. Or maybe, it is just a case of bad writing. Shocking to believe for a Mani Ratnam film, but true nevertheless. Rahman's music enchants and manages to draw attention from an audience involuntarily stifling a yawn. Beera Beera, Behnde de and Ranjha ranjha showcase the sheer talent of the winning combo of Rahman and Gulzar. Watch out for Rekha Bharadwaj's vocals in Ranjha ranjha, who delights considerably.

The translation of the Ramayana seems too literal at a certain point, when you feel that a checklist of sorts, in terms of characterization and dialogues has been made vis-à-vis the Hanuman-type forest ranger Sanjeevani (Govinda), who flies from tree to tree or the ill-fated Jamunia (Priyamani) a.k.a. Surpanaka. Vijay Krishna Acharya's dialogues make no sense at most times, while Abhishek Bachchan's clay covered face and the constant chik-chik-chik-chik surely ranks as the biggest turn off of "Raavan". Aishwarya Rai Bachchan impresses in most parts while Govinda and Ravi Kissan irritate. Vikram never looks comfortable speaking Hindi while Priyamani blows the screen apart in her cameo.

A famous filmmaker once remarked that if there is nothing good to talk about the movie, praise the technical aspects instead. Sadly, this holds true with this film. Watch it only if you want to watch the finest Indian sceneries shot breathtakingly. If not, Mani Ratnam's wide filmography has a wide array of brilliant films to choose from.