Adipurush’s retelling of the Ramayana is fair, but its excessive action sequences wear down the plot

Cast: Prabhas, Saif Ali Khan, Kriti Sanon, Sunny Singh, Devdutta Nage, and Vatsal Sheth, among others.

It’s never easy retelling an epic like Ramayana. Om Raut decided to take on this almost Herculean task to focus on the primary conflict of the epic—Ram versus Ravana fighting for Sita. 

Borrowed VFX with passable quality doesn’t quite work in times where we are used to life-like animation (think, The Lion King and Pinocchio) or superhero mega-sagas (think, the Avengers). That being said, Raut’s Adipurush has created an acceptable universe of Lord Ram’s moral good versus Ravan’s extravagant evil for the Instagram-hooked generation. Given its eye-popping budget, perhaps some of the funds could have been spent on giving it a well-written story. 

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Adipurush covers the banishment of Raghav (Prabhas), Janki (Kriti Sanon), and Shesh (Sunny Singh) in its artistic opening credits, without raising logical questions around this episode like why would an excellent fighter and a noble prince accept such an unfair judgment? Or why has Laxman decided to leave his wife and family behind and followed his brother into the jungle? Maybe even thinking about what would be Janki’s point of view? 

The protagonists live an idyllic simple life amid lush green jungles, when a sudden attack of economy dementors is neutralised by an underwater meditating, rock-like Raghav. And he shoots out of the water like a well-trained dolphin, armed with a tensile bow and arrow, he lands on his feet perfectly after which he demolishes these dementors and their skeletal king all-while rotating mid-air at one point.

Meanwhile, viewers are left wondering where did these dementors emerge from and why did they attack him? No explanation is offered. This extended fight sequence exists solely to show Raghav’s larger-than-life and God-like strength, his demure personality and Janki’s deep concern for her husband’s safety, and Shesh’s belief that his brother can smash lightweight dementors to smithereens.

This the role Janki and Shesh stick to for most of the film. Janki stays noble in grief and captivity, glowing with beauty and pining for her brave husband to save her (even letting go of a chance to get away, which is frustrating). Shesh stays around, fighting, offering commentary, and observing stuff; just to be a sounding board to the superior, morally upright Raghav.

Then there’s Ravan or Lankesh (Saif Ali Khan), whose name hasn’t been changed. He looks massive—supersized by VFX—and menacing while seeking immortality from Brahma. The script sidesteps a truth about Ravan that biased rewriting hasn't been able to erase— in terms of warcraft, knowledge, and meditation, he was the first in the universe. His quest for immortality is tied to his excellence in these fields, yet, his ego submerged his goodness.

Back to the film; Ravan’s mancave and Shiva Linga temple are both visual creations that make compel a stiffled laugh and wonder about re-interpretation.

Statues of Ravan sing along with him; animated when he plays the musical instrument, Veena. Snakes bind around him to give him a massage, not scary ones, mind you. In close-up, they look as artificial as Ravan’s Orukai-like army of half-human creatures that are supposed to be Rakshasas.

With his brothers Kumbhkaran and Vibhishan, and his shape-shifting, poisonous son Indrajeet by his side, Ravan rules over a blue, black, and gold-laced Lanka. His palace resembles Sauron’s tower from Lord of the Rings; and his outfit—with an animal skin fur shawl thrown over his shoulders and his leather-clad tights—seems inspired by Robin Hood and traders from the Silk Route in Chengiz Khan’s times. 

Despite the oddities, Khan shines through with his performance, longing  for Janki’s affection. It can be safely assumed that Khan’s performance stands out  in this lengthy and rancorous affair. Another stands out is Devdutta Nage as Lord Hanuman, the character that drew cheers in the movie theatre upon his entry.

Hanuman is witty, close to normal, and credible as the common person (or ape) that can tap into superhuman strength for a just cause and is a good leader. As the story stays true to the popular Ramayana tale, Raut has adapted some aspects to make the film contemporary and riveting. 

Dialogues (by Manoj Muntashir) are conversational and accessible, an advantage for epics about gods and giants. Phalani Karthik has created a starkly different world for Ravan’s Lanka which sets it apart from the natural light and foliage-driven beauty of Ram and Hanuman’s spaces. Playing up the fantasy elements- like Hanuman capturing the Dronagiri mountain to get Sanjivani herb and Indrajeet’s ability to shapeshift in combat- Raut has created an effective action saga in the second half. 

As for its  the borrowed elements— the Euro-fantasy villain-like palace for Ravan, the Orukai and Orc-like armies of the villain, and the fanciful warfare used by Ravan’s army—they simply don’t make the cut. The elements don’t feel authentic, nor do they build up the intensity of the final battle.

If anything, the final battle could have been done with sharp editing and the inclusion of character-driven responses that are integral to the story of Ramayan. Emphasis on a prolonged, multi-level battle to build up for the final Raghav versus Lankesh battle only exhausts the viewer. As for performances, Prabhas, Sanon, and Singh deliver the goods; as does Sheth as the evil Indrajeet.

That being said, the VFX overwhelms most performances. Adipurush could have benefitted by losing Lankesh’s fake laughter. It echoes and nearly deafens without serving any real purpose. 

Raut’s attempt to interpret the Ramayana is admirable. Yet the overwhelming, numbing impact of VFX-driven war finales almost always take the same form- across genres and languages.

Adipurush is worth a watch to teach younger people that our epics have rich, unexplored heritage and tons of stories to be explored. Like all epics, this one is open to interpretation. And I take home this as the final word- no woman, wife or daughter, is any man’s property. 

Rating: 3.5/5