Filmy Gallery

*Adipurush* (2023), directed by Om Raut, offers a modernized and fantasy-inspired interpretation of the ancient Indian epic *Ramayana*. The film bypasses much of Rama's (Raghav’s) early life, focusing instead on the central conflict of Seeta's (Janki’s) abduction by Ravana (Lankesh) and the ensuing war for her rescue. The characters, while still following the original story, are given new names and designations, with Rama becoming Raghav, Seeta as Janki, Laxmana as Shesh, and Hanuman as Bajrang, adding a contemporary twist to the traditional epic.

Raut’s inspiration from *The Lord of the Rings* is apparent, especially in the depiction of Lanka, which is visually designed as a dark, desolate place reminiscent of Mordor. Ravana’s palace, with its towering and gloomy architecture, and his army of orcs and trolls, brings in a fantasy element, alongside Ravana’s portrayal as a larger-than-life figure with supernatural powers. However, the film’s treatment of the epic and its characters lacks the solemnity and reverence typically associated with the Ramayana, as seen in earlier adaptations.

One of the major departures in *Adipurush* is the portrayal of Ravana, a scholar and powerful warrior in the original text. In this version, he is reduced to a less nuanced villain, wielding excessive powers without the complexity or gravitas that typically define his character. Saif Ali Khan’s portrayal of Ravana, though earnest, fails to capture the character’s depth due to weak dialogue and an underdeveloped character arc. Likewise, Hanuman, who is revered as a divine and mighty figure, is presented here with a more colloquial tone, stripping away the grandeur of his persona. The dialogues across the film are inconsistent, with some scenes feeling out of place, such as Ravana's son Indrajeet delivering threats that sound more like street-level intimidation than the dignified warfare expected from such characters.

Additionally, the film misses out on key aspects of the epic, such as Ravana’s possession of the Amrit in his navel and the role of Mandodari as Ravana’s moral compass, which are either glossed over or omitted entirely. The portrayal of the vanaras (monkeys), particularly Bali and Sugreev, also fails to reflect the physical parity and strategic importance they hold in the original tale.

In terms of performances, Prabhas, as Raghav, carries the film with dignity, delivering a performance that suits the heroic yet humble nature of the character. Kriti Sanon’s portrayal of Seeta is visually stunning but lacks the depth and agency one might expect from such a pivotal character. Sunny Singh as Laxmana, though committed, struggles with dialogue delivery, sounding more modern than his mythological counterpart. The film’s fight choreography, while serviceable, doesn’t live up to the high standards set by films like *Baahubali*, and the visual effects, though ambitious, fall short of expectations.

Overall, *Adipurush* attempts to bring the *Ramayana* to a broader, younger audience with its fantasy elements and grand visuals, but it fails to do justice to the themes of sacrifice, love, and brotherhood that are central to the epic. The film's tone and approach, borrowing too heavily from Western fantasy films, seem at odds with the reverence and spiritual weight of the original Ramayana.