I set out to watch Mani Ratnam’s magnum opus “Raavanan” with zero expectations. All I knew from what I’d read online about this Tamil movie was that it was a reimagining of the ancient Hindu epic “Ramayana” (the one featuring a ten-headed demon king who kidnaps goddess Sita from her lover Lord Rama, who then traveled 14 days and 14 nights to vanquish the evil king and to rescue his beloved at any cost) and also that it starred one of my favourite South Indian actors, Chiyaan Vikram (now how could I possibly say no to this man’s ability to push the envelope with each role?). After watching it, however, I can safely say that it exceeded my expectations and then some.
The story unravels in a remote village inhabited by forest dwellers and their clan leader named Veera. The locals have a history of bad blood with his authority, but adore Veera who is a local legend. To the forest dwellers, Veera is nothing short of a God and has close to 10 personalities. He’s a great performer, a guardian angel to them, a class clown, a charming and charismatic human, a tad arrogant, and a bit of a wild card. However, he is nonetheless lovable.
To the cops operating the village, in contrast, he is nothing but a vile menace; he’s a problem creator who lives for chaos and ruckus. The police even go to the extent of labelling him a terrorist after suspecting him of carrying out an act of terror leading to the bloodshed of some officers in the village. However the toxic relationship between the police and locals only further intensifies when Veera kidnaps Ragini, the wife of the local SP (superintendent) Dev and holds her hostage. This leads to the SP setting out in search of her with his entourage for 14 days and 14 nights—just like Lord Rama in the original epic.
What stood out for me was the re-interpretation of the initial message of Ramayana—namely how good vanquishes evil. Here, the characters who initially stood out as kind and nice have shades of grey to them, and characters who were painted in a negative light earlier actually turn out to be the kind-hearted or most understandable ones by the end.
In fact, “Raavanan” subverts the very archetype of the demon king Raavana is here by humanising the Veera. Despite his shortcomings, his childish nature, and his occasional arrogance, Veera never strays from his mission of providing justice to the ‘downtrodden and uncouth brutes’ of society. Unlike the ‘hero of the piece’ Dev, who selfishly and relentlessly pursues a personal vendetta without care for the local community’s safety and well-being, villainous Veera grows on you and compiles you to root for his victory over Dev—particularly in the climax.
“Raavanan” shows this aptly, as well as referencing Ramayana cleverly in the proceedings. This is shown in scenes such as when a cop threatens to chop off Veera’s sister’s nose after gate-crashing her wedding despite repeated pleas from the guests, or Veera constantly alluding to the 10 ‘voices’ that rattle about in his head. It’s also comparable with references to a mischievous forest guard with a penchant for bouncing about like a beach ball who takes on the human form of ‘Hanuman,’ the monkey God.
Additionally, “Raavanan” also addresses the themes of corruption and abuse of power by the police force. Considering current debates of defunding the police and holding authority figures accountable, “Raavanan” feels more important now than ever before.
Among the performances, Vikram slays it as Veera, the ‘villain of the piece’; he is ruthlessly devoted to his cause of bringing justice and wreaking havoc upon those who snatched his sister from him while being a protective of his clan. The versatile actor’s subtle changes in facial expressions and intonation during his dialogue delivery lend a vulnerability. He is grieving and with suffering mental health, and those on the fringes will likely easily relate.
Vikram’s capability as a performer shines through in his fluid body language and gestures; he conveys the urgency to wage war upon injustice, meted out against his clan from those who wield power. This is best seen in the musical number “Kodu Poatta,” which is beautifully choreographed and staged; it will linger on your senses and in your mind long after the movie is over.
Wether it is the dramatic scenes or the action and dance sequences, Vikram doesn’t disappoint. He rarely misses a beat, adding to the entertainment value of the movie as well. Aishwarya Rai Bachchan holds fort as the strong-minded Ragini; she is caught in the crossfire between her husband and Veera, but never loses hope nor courage. Prithviraj has a limited presence as Dev but does justice to the role of the hard-headed SP nonetheless. The supporting cast too are splendid in their respective roles.
Mozart of Madras AR Rahman composes the soundtrack and background score, and it is absolutely befitting of such an ambitious project. Tracks such as the war song “Kodu Poatta,” or the foot-tapping “Veera” make you want to rebel against authority yourself. Meanwhile, the soothing ballads “Kalvare” and “Usure Pogudhey” further complement the relationships in this movie…both the love and longing of Ragini for her husband Dev as she is held captive by Veera, and the hidden feelings of Veera gradually surfacing towards Ragini as they both await their respective fates.
The cinematography by Santosh Sivan highlights the scenic beauty of the Athirapally waterfalls in all their glory; however, he also captures the alluring lush-green hillocks and dense forested areas where Veera and his family dwell. Various intricate camera angles—including mirror shots—are implemented to a great extent; it gives viewers a glimpse into Veera and his rival’s psyche and captures the chaos of warfare. Both men wage a battle that is a product of corruption, grief, betrayal, jealousy and seething hatred.
Decades after its release, this overlooked gem still remains a cult classic (and a timeless one at that). Its relevance is apt, and history repeats itself everyday with innocent lives endangered by the powerful who abuse their positions. If you ever find the time for it, be sure to give “Raavanan” a watch. (You can skip the Hindi remake, however, as it doesn’t live up to the high bar its Tamil counterpart sets).
