Raavan and its tamil twin was released simultaneously all over India. The initial feedbacks were very ravishing. As I am quite reluctant to push and shove for the ticket on the opening days, I chose to wait a few days for the crowd to tame down. Then the real feedbacks started to trickle in. Raavan wasn’t as good as expected. Ultimately the movie flopped.
I picked up the DVD to see for myself, what really went wrong.
As the name suggests Raavan is a depiction of a fight that draws its parallel from the Raamayana. Mani Ratnam tries to question our basic idea of right and wrong. Just like the old times, in the movie, the bad man kidnaps the the good man’s wife. The good man ascends on the bad man with his army and ultimately vanquishes him, unmindful of the tactic employed.
The dharma of Raamayana has been a matter of debate and discussions in India for many years. Scholars even suggest parallels with the Aryan-Dravida conflicts. The movie also runs along the same line with a ‘popular’ dharma fighting against an unpopular one. But this time the tribals don the role of Asuras and police officers become the Ram Sena.
Strangely it’s the ideology of the cinema that didn’t work out. The logic Mani spells out is too weak to stand. The audience certainly expected much better from the director of Guru and Yuva. The protagonist implies the conflict between those in the jungle and those outside on the issues of development. But when it comes to the story the struggle turns personal between hero and the villain. The viewer totally fails to connect between Abishek’s obsession for revenge and the marginalized population seeking justice.
There is no valid reason on Abishek being venerated as a leader of the poor. Are the sons of jungle so stupid to idolize someone who does nothing but walk around grumbling and mumbling? Why do they commit their lives on line of fire for Abishek’s personal vendetta? In other words there is no character build-up.
As usual Santosh’s visuals are wet and dark. It’s time he tries something different. I have come to appreciate the ones who films through claustrophobic atmosphere. That is real film making. Sivan’s visuals over power the story-telling. I felt that in Urumi too. He must be attaining nirvana by unleashing his technical prowess. In the end it does no good for the film.
Casting has always been Mani’s strong forte. Even the ordinary actors come out with awesome performance when they go through Mani’s hands. Aiswarya obliges everyone with her unusual cleavage show.
5 comments:
agree with you in the 'idelogy of the movie not working' part...The movie was supposed to have an angle where the issues of maoism, development etc are tackled...it was even advertised that way..But in the end, there was nothing of that sort.
ANd I would advise you to watch the Tamil version...some brilliant acting from Vikram has taken it to another level..we all know how good mr.abhi is :P
and coming to camera...am surprised by those comments...because I for one, found the camera work in Raavan to be a treat, top notch. yes, claustrophobic atmosphere is a different ball game. But in the context of the movie, this was the best suitable approach.
I was a fan of Sivan until I watched Urumi. Visuals are top notch when considered indivdually. But if they travel on a different plane and takes the viewer away from storytelling...it's gone. I can't simply come to terms with the fact that adivasis lives in picturesque scenario!
I havent seen this.
Even I saw the movie again recently, believing that I must have missed out something really amazing last time. Sadly, I yet again failed to connect...especially with Raavan. His character is never built-up, and always seems confused...
The storyline had such potential, its unfortunately a lost opportunity for Mani this...
Truly said Sid...
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