A
frail
wounded
bird
snarled
viciously
in
the
dry
branches
of
a
tree.
A
cold-blooded
vulture
who
looks
leery-eyed
and
loopy-grinned
at
his
prey.
Pray,
is
this
world
for
real?!
A
film
by
Mani
Ratnam
is
an
experience
of
a
lifetime.
His
politics
might
be
a
little
wobbly
at
times.
And
those
recurrent
shots
of
old
ladies
and
little
girls
dancing
at
colourful
weddings
have
become
annoying
in
their
familiarity
in
Mani's
world.
But
by
Jove,
Mani
knows
how
to
tell
a
story!
In
Raavan
he
transports,
no
traps
,
us
into
a
forest
of
strange
untamed
sights
sounds
emotions
and
feelings
that
tumble
out
with
rapid-fire
urgency
creating
a
spiral
of
rich
vibrant
sensuous
images.
Not
quite
textured
in
their
tumble
these
images
linger
like
the
aroma
of
redolent
spices
in
a
kitchen
that's
cooking
up
a
storm
of
a
meal.
Raavan
is
a
feast
for
the
senses.
Not
much
more
needs
to
be
said
about
Mani's
images.
They
flow
out
of
Santosh
Sivan
and
Manikandan's
cameras
with
the
desperate
urgency
a
symphony
written
on
the
night
before
apocalypse.
Raavan
with
its
elemental
images
located
in
the
deepest
recesses
of
the
forests
is
apocalyptic
in
its
movement
and
suggestions.
The
image
of
Aishwarya
Bachchan
plunging
from
the
heights
into
a
waterfall
and
getting
trapped
in
a
dry
tree
remains
the
one
visual
that
surpasses
all
other
recent
and
remote
celluloid
wise
en
scene
suggesting
a
link
between
Nature
and
vulnerability.
No
actress
but
the
divine
Aishwarya
could
have
played
the
beauteous
and
virtuous
modern-day
Sita
who's
kidnapped
by
a
Maoist
Raavan
and
taken
through
14-day
experience
echoing
Lord
Rama's
14-year
banwas.
The
mythological
references
gets
lost
on
some
of
the
characters
(notably
Vikram
as
a
khaki
Rama
creating
quite
a
devastating
drama)
.And
the
background
music
and
songs
by
A
R
Rahman
(barring
the
haunting
Behne
de
which
comes
much
too
soon
in
the
narrative)
leave
no
impression.
Aishwarya
gets
a
firm
grip
on
her
pristine
neo-Sita's
ordeal
by
fire
in
the
most
trying
of
circumstances.
At
time
her
scale
of
emoting
goes
a
little
too
high,
as
though
she
had
forgotten
this
was
the
Hindi
and
not
the
Tamil
version
of
the
neo-mythological
saga.
But
she's
a
perfect
portrait
of
a
trapped
bird
flapping
her
wings
against
the
cage.
The
superbly
styled
though
at
times
overly
accentuated
and
often
rushed,
screenplay
is
crammed
with
ironic
references
to
mythology
and
history.
Think
Ramayan.
Think
Sita.
Think...
Hanuman!
Govinda
puts
in
a
delightful
cameo
as
a
forest
ranger
up
to
his
monkey
trick
as
he
transports
Inspector
Dev
(Vikram)
through
the
complicated
forest
terrain
in
search
of
his
kidnapped
wife.
A
lot
of
the
action
and
drama
unfold
in
the
region
of
the
cryptic.
We
never
come
close
to
cracking
the
jungle
creature
Beera's
mind.
Partly
a
Moist,
partly
an
outcast
and
an
outlaw
and
outwardly
a
Robin
Hood(don't
miss
images
of
rural
kids
frolicking
with
the
Santa
Claus
of
the
jungles),
Abhishek
Bachchan
plays
the
character
with
much
relish
trying
to
find
a
centre
to
a
character
the
defies
gravity.
But
the
glint
in
the
eye
and
that
artless
grin
cannot
be
missed.
They
give
the
character
away.
You
know
this
seemingly
ruthless
guy
will
fall
so
hard
in
love
with
his
mesmerizing
hostage
that
it
will
destroy
him
Yup,
this
Sita
will
be
the
death
of
Raavan.
By
the
time
the
two
develop
a
feral
fatal
attraction
the
narrative
loses
grip
over
the
unlikely
lovers.
In
the
last
half-hour
Sita
and
Raavan
are
on
their
own.
How
you
wish
Mani
would
have
given
the
narrative
ample
breathing
space
for
the
Abhishek-Aishwarya
relationship
to
grow
naturally
in
the
stunning
non-judgemental
forests.
Tragically
the
feelings
that
they
share
never
quite
jump
out
of
the
screen
to
cloak
and
choke
us.
Mani's
narrative
style,
a
synthesis
of
smothered
passions
and
half-finished
emotions
preclude
any
deeply
thought-out
plan
for
the
modern-day
Sita
and
Raavan.
So
what
lies
beyond
the
forbidden
passion
between
Hindu
mythology's
most
enigmatic
villain
and
most
revered
and
pristine
heroine?
Parts
of
the
narrative
are
uneven,
not
being
able
to
create
a
coherent
connection
between
the
principal
characters
and
the
politics
underlining
the
film's
flamboyant
mythological
underbelly.
It's
a
heady
ambitious
venture
about
characters
trapped
in
situations
from
which
they
cannot
escape.
Mani
Ratnam's
keeps
the
pace
frantic
and
urgent.
His
actor
have
to
create
their
own
spaces
in
the
tightly-packed
drama
of
the
doomed
and
the
damned.
The
action
and
the
drama
are
shot
in
an
ensnaring
rush
of
adrenaline.
Abhishek
and
Vikram's
pre-climactic
hand-to-hand
combat
on
a
wooden
bridge
is
pure
hand-to-mouth
stuff,
no
two
ways
about
it.
The
cinematography
captures
the
rain-drenched
characters
and
terrain
in
slippery
splendour.
Never
have
we
seen
the
protagonists
on
screen
rough
it
out
so
vigorously.
Abhishek
and
Aishwarya
play
beautifully
against
one
another.
When
at
the
end
he
tells
her,
"If
I
had
died
how
would
I
have
met
you?" you
know
his
eyes
are
telling
the
truth.
Raavan
is
a
film
that
constantly
seeks
out
the
dark
recesses
in
its
characters'
heart
which
are
then
manifested
in
a
montage
of
beautifully
designed
images.
The
film
does
fall
short
in
some
of
its
emotional
moments.
But
who
said
that
a
film
about
such
fatally
flawed
people
had
to
be
picture-perfect
both
outside
and
from
inside?
The
imperfections
in
the
storytelling
somehow
add
to
the
film's
vital
primeval
quality.
The
forest
is
shot
with
a
devastating
passion.
It
becomes
a
place
where
the
human
heart
can
race
against
convention
without
the
clock
ticking
away
accusingly.
Aishwarya's
heart-stopping
beauty
reverberates
across
the
natural
sights
and
sounds
in
the
jungles.
Abhishek
uses
his
voice,
physicality
eyes
and
smile
to
create
a
twisted
troubled
world
of
inescapable
doom
for
his
character.Govinda,
Ravi
Kissan
and
Nikhil
Diwedi
also
put
in
credible
performances
that
seem
to
grasp
the
workings
of
Mani
Ratnam's
primeval
world
in
all
its
uplifting
glory.
But
Vikram
as
the
modern-day
Rama
is
a
near-disaster.
He
is
apparently
a
superstar
in
the
South.
And
there
he
shall
remain.