Two-Day International Conference on Revisiting History, Ethnicity, and Myths in Literature organized by Amity University, Rajasthan on 19 October, 2023
The Amity School of Languages at Amity University, Rajasthan, organized a two-day International Conference on Revisiting History, Ethnicity, and Myth in Literature on October 19th and 20th, 2023. On October 20, 2023, I had the opportunity to present my paper entitled "Reimagining Indian Myths on the Silver Screen: Unveiling the Transformative Journey in Indian Cinema." The conference was conducted in a hybrid mode, and I delivered my presentation online. My paper delved into the transformative evolution of myths in films, including Ram Setu, Brahmastra, Raavan, and Adipurush.
Abstract:
In India's rich cultural tapestry, myths interweave history, spirituality, and symbolism. Rooted in ancient texts and folklore, these narratives encapsulate the beliefs that shaped the subcontinent for ages. From celestial battles to tales of love, sacrifice, and enlightenment, Indian myths offer profound insights into the nation's soul, reflecting its intricate social fabric, moral dilemmas, and timeless quest for meaning. Across mediums oral tradition, literature, art, and cinema myths bridge tradition and modernity.
From the 20th century, cinema and audiovisual tools globally popularised Indian myths. Movies and web series breathe new life into these tales, spreading Indian culture, religion, and especially Hindu intricacies. While embracing artistic freedom, these adaptations diverge from the originals. Even retellings, like Tulsidas's Ramayana, differ from Valmiki Rishi's yet stay anchored to the core. Contrastingly, cinema and web series bravely deconstruct myths, embodying a new narrative frontier.
This study delves into the realm of Indian myths and their cinematic adaptations, with a particular focus on movies. It examines how these adaptations delicately navigate the balance between artistic reinterpretation and honouring the source material, shedding light on the intricate interplay of tradition and innovation. Prominent films like "Adipurush," "Brahmastra," "Ram Setu," and "Ravaan" stand out as highly popular, widely discussed, and often controversial examples due to the artistic liberties taken by writers and directors. This research also investigates the deconstruction of Indian myths in cinema, ranging from subtle alterations to major transformations. These modifications may reshape the core myths, alter their narrative tone, or imbue them with a modern perspective.
Keywords: Myths, Indian Cinema, adaptations, Transformations
Introduction:
India's cultural heritage is full of myths and legends that have transcended time, shaping the nation's identity, beliefs, and values. All these myths are rooted in ancient texts, folklore, and oral traditions. These narratives offer profound insights into India's culture and diverse social fabric, moral dilemmas, and eternal quest for meaning. From ancient battles to tales of love, sacrifice, and enlightenment, Indian myths serve as the mirror of a civilization that has evolved over the years.
M. H. Abrahms in ‘A Glossary of Literary Terms’ defines myth as “any story or plot, whether true or invented… a system of hereditary stories of ancient origin which were once believed to be true by a particular cultural group, and which served to explain why the world is as it is and things happen as they do, to provide a rationale for social customs and observances”(Abrams, 1999, 170). J. Rowling also states in “The Mythological Perspective of Modern Media: Cross-cultural Consciousness and modern myths” that ‘Myth’ is merely the most common term used to describe the traditional stories that have survived from past cultures”. (Rowling, n.d.)
So analysing these two definitions, myths are the representation of culture and tradition of people which is also the pinnacle of one culture’s Religious beliefs and moral values.
Traditionally looking at myths, it has found expression through mediums such as literature, art, and oral storytelling and has become an integral part of the cultural fabric. Oral tradition and some ancient literary pieces are the evidence that has contributed to the survival of these myths over the period of so many years. In the 20th century, the advent of cinema has paved a new path to the continuity of these myths in an explicit way. This cinematic representation is a powerful new medium, which captures the Indian myths onto the global stage and reimagines their narratives with unprecedented flair—the world of cinema. Today, Cinema’s audiovisual prowess has become a vehicle to breathe new life into age-old tales, disseminating Indian culture, religion, and the intricate nuances of Hinduism to a worldwide audience.
This research paper delves in a voyage into the realm of Indian myths and their cinematic adaptations, with a particular emphasis on the world of movies. It scrutinises how these adaptations delicately navigate the fine line between artistic reinterpretation and honouring the source material. Additionally, it sheds light on the intricate interplay of tradition and innovation in the cinematic retelling of myths.
Prominent films such as "Adipurush," "Brahmastra," "Ram Setu," and "Padmavat" stand as captivating examples. Apart from these, children’s movies such as Bal Ganesh, Hanuman, Ramayn: The Epic, and Mahabharat(2013), also contributed to shaping myths into the minds of new generations.
Mostly cinema tries to capture the essence of myths in one way or the other. There are movies that are directly adapted from the mythical stories, for instance, the recent movie Adipurush, or having implied or symbolic representations of a particular mythical archetype. The first all-Indian feature silent film, Raja Harischandra, was a ‘mythological’, a genre that is unique to India. As Rachel Dwyer in Filming the Gods: Religion and Indian Cinema says that since this first film, myth has remained at the core of cinema (Dwyer, 2006, 14).
Raavan:
Raavan is a 2010 Indian Hindi-language epic action-adventure film written and directed by Mani Ratnam. The plot of this film is based on Ramayana but the filmmaker has replaced the modern characters. So throughout the film, we can sense the core narrative of Ramayan though the names of characters, places and situations are very different. In "Raavan," Dev falls in love with Ragini, a unique dancer. They get married and move to Lal Maati, a small town. In Lal Maati, power is now with Beera, not the police. Beera is seen differently in this movie; he gets more attention, and Sita, who is usually seen as Ravan's captive in the Ramayana, is portrayed as more sympathetic towards Beera. (Ratnam, 2010)
In terms of acting, the character Ravan is portrayed as stronger than Rama in the film. This change makes Ravan more of a hero. Critics have criticised the movie for straying far from Valmiki's original Ramayana. They call it an "analogy" adaptation, where most of the original story is changed. Experts have discussed how the director, Mani Ratnam, made significant changes to the story. These changes give the characters and the narrative a fresh look. In short, "Raavan" is a movie that takes a different approach to the traditional Ramayana story. It changes the characters and their roles, which has sparked discussions among critics and audiences(Chowdhury, 2015, 33). Many a time it is being realised that Beera is at the centre of the film. As an audience it is difficult to identify whether Beer is good or bad. This is a continuous battle of dilemma that begins with the film and lasts till the ending of the film. Actually, it is difficult to come to any conclusion about the character of Beera as the shift of his character goes simultaneously. Most of the time in the film, Dev remains aside. The character of Ragini also has a problem while looking at her as Sita, as she chooses to go to Beera when Dev asks her for a polygraph test, as Dev says that she was there with Beera for 14 days which includes 14 nights. Here the way she chooses doesn’t match with the character of Sita. Many critics have criticised as well as praised this film a lot.
Even with such alterations, the message of the Ramayana remains the very same. Ravaan abducted Sita to take the revenge of her sister’s insults, here as well Beera abducts Ragini to take revenge on Beera as he raided on his sister’s wedding day and her husband runs away. Both Ravana and Veera are mesmerised by the beauty of Sita and Ragini. But they both haven’t touched her. Both are good as well as bad. Both Ram and Dev kill the abductor of their wives. Both question the character of them. In both the intention behind asking them to go for their purity province is different, as in Valmiki Ramayan, it is told that Sita went with Agnidev before her abduction and in Raavan, Dev wants to find Beema, that’s why he questions her characters as he knew that she will go to the place of Beema and he could find him.
But while looking at the core idea of the film, as Amit Basole says, Mani Ratnam’s film Raavan depicts the contradiction between the adivasis and the State through the framework of the Ramayana. The film, however, deviates from the message of the Ramayana, and raises the disturbing possibility that our myths of morality and bravery are someone else’s stories of rape and conquest. The recasting of Raavan as the wronged subaltern and Ram as the scheming agent of imperialism brings to mind similar reinterpretations of other Hindu legends by Phule, which completely subvert the orthodox interpretation.(Basole, 2010) The ultimate message of any myth is to provide a moral lesson that has been conveyed through this film.
Ram Setu:
Ram Setu is a 2022 Indian Hindi-language action-adventure film directed by Abhishek Sharma. This movie is based on Ram Setu or Adam’s Bridge that is believed to be built by Lord Rama and Vanarsena to cross the ocean to reach Lanka. This movie proposes arguments whether the bridge is man made or constructed by Lord Rama with which large communities’ devotion is connected. There are some archaeological evidences available to trace the time of its construction, as in one of the article of The Times of India some evidences are provides that, Geologists and archaeologists suggest the bridge's rocks are 7000 years old, and the sandbar is 4000 years old, hinting that the rocks were brought from elsewhere. This ancient bridge connects Rameswaram Island in Tamil Nadu and Mannar Island in Sri Lanka, consisting of natural limestone shoals. The bridge was reportedly passable until the 15th century but became inaccessible due to deepening channels caused by storms, as noted in the Ramanathaswamy Temple records. Ibn Khordadbeh's Book of Roads and Kingdoms mentions the bridge in the western world as Set Bandhai or Bridge of the Sea. Also known as Adam's Bridge, it's believed by some that Adam, the first human, crossed it from Sri Lanka to India after leaving the Garden of Eden, hence the name. (“Rama Setu and the Mysteries Surrounding It Will Leave You Intrigued!” 2022)
Ram setu remains the focal point of political, religious and ecological controversies for decades. Present-day politics around the nature of the ‘bridge’ stems from the Hindu mythological belief that the structure was built by an army of monkeys, led by Lord Hanuman on behalf of Lord Ram whose army was marching towards Lanka to rescue his wife Sita, held captive by Ravan. (Roychowdhury, 2022)
Dr. Ayan Kulshrestha is an archeologist with ISI, who is initially non-believer in God, rather he believes in the archeological evidence or scientific facts. In 2007, the Indian government planned to demolish the Rama Setu for a canal project. Aryan, asked to draft a report proving the bridge was natural, initially refused but later submitted a report questioning the existence of Lord Rama. This led to public anger and Aryan's suspension. He also faced hostility due to his son's bullying.(Sharma, 2022)
A rich businessman, Indrakant, offered Aryan a chance to explore the Rama Setu to save money for a marine project. Aryan accepted after recalling his son's experience. He joined a team including Dr. Sandra Rebello and Dr. Gabrielle, finding evidence that the bridge was man-made about 7000 years ago.(Sharma, 2022)
Indrakant only wanted proof that the bridge predated Lord Rama. He planned to have the team killed. During a mission, they got stuck underwater but were rescued by AP, who demanded payment. After a chase, Gabrielle died, and Aryan, Sandra, and AP tried to prove the existence of Lord Rama in Sri Lanka.(Sharma, 2022)
AP was presumed dead, but Aryan continued with help from others to stop the canal construction. He found evidence of the Ramayana's truth and Lord Rama's possible existence. Later, Aryan discovered that AP was, in fact, Lord Hanuman in disguise through a diary with "Jai Shri Ram" written in it.(Sharma, 2022)
In the beginning, he keeps repeating, “I am a man of facts and history. I only believe what can be proven.” Accused of blasphemy, he is taunted, “Iss desh mein jo Ram ko nahi manta, uska muh kaala hona chahiye.” (Vyavahare, 2022). In Renuka Vyavahare bitterly criticises that
“A lop sided argument on mythology versus history, Ram Setu is the kind of film, where you can precisely tell the final outcome in the first scene. There is no joy of discovery because it plays out like a poorly scripted reality show that isn’t even discreet about its agenda. The film is painfully predictable and blatantly manipulative. Even if you overlook the motive, the supposed survival- drama, is way too dull and far-fetched for a mythical adventure movie. Characters locate ancient hidden caves, floating rocks, manuscripts, sanjeevni booti and Ravana’s Lanka faster than services of food delivery apps.
…Set in a courtroom, Aaryan rants about ‘progress not at the cost of sanskriti’. In its desperate attempt to reframe mythology as history and vice versa, it does a lot of disservice to Shree Ram’s legacy and faith in general. Barring a few decent chase sequences, Ram Setu has no spark and is way too preachy. ‘Lord Rama doesn’t need a salesman or films acting as Instagram influencers for him’.”
However, while looking from the beginning to the ending, one can easily get an idea of the shift in the character of Dr. Aryan from being non-believer to believer in God after his discovery on Ram Setu. He too finds that the Ram Setu is not man made but built up in the period of lord Rama by Vanar Sena and the archeological evidence is presented. So basically the movie takes back to the mythical stories and its presence in today's time and even enlivens it.
Adipurush:
"Adipurush" is a 2023 Indian mythological action film based on the revered Hindu epic, the Ramayana. The film is skillfully directed and co-written by Om Raut and was simultaneously filmed in both Hindi and Telugu languages. It garnered significant attention and controversy due to its fresh interpretation of the timeless Ramayan narrative. In this adaptation, the film introduces a touch of modernity into the age-old myth while preserving the original characters, places, and storyline. While the character names remain the same, some are given alternative names, such as Rama becoming Raghav, Sita as Janki, Laxman as Shesh, and Hanuman as Bajarang. The fundamental plot of the Ramayana is retained, but the portrayal of settings, characters, and situations undergoes a modern makeover. The overarching plot remains true to the Ramayana, yet the film alters the representation of places, characters, and situations, converting myth into the story through a modern lens. Even the golden Lanka is reimagined with a darker aesthetic. The characters' costumes undergo a transformation, featuring body tattoos and unique hairstyles. Notably, Ravana's Pushpak Viman is replaced with a colossal bat as his vehicle(Raut, 2023).
This sort of transformative journey led to lots of controversies. At many places over india, so many cases were submitted even before the movie release. The Hindu news notes “Slamming the makers for portraying the characters of Lord Rama, Hanuman and Sita in a “vulgar” and “objectionable” manner, the court orally observed that “religious scriptures, which are associated with public sentiment, should not be touched or encroached upon”.(Mishra, 2023) Throughout the religious sentiments were deeply hearted through this movie.
While hearing a couple of public interest litigation (PIL) petitions filed against the film, the Bench of Justices Rajesh Singh Chauhan and Shree Prakash Singh remarked that the Central Board of Film Certification (CBFC) should have considered the “religious importance” of the film before granting the certification.(Mishra, 2023)
In the movie, there are several dialogues that seem problematic with the mythical involvement. The one dialogue that created controversy due to the language that was used is,
“Kapda tere baap ka, tel tere baap ka, aag tere baap ki, to jalegi bhi tere baap ki”.
After this controversy, this dialogue was altered as “Kapda teri Lanka ka, tel teri Lanka ka, aag teri Lankaki, to jalegi bhi teri Lanka hi”.
Manoj Muntashir, who wrote the dialogues of Adipurush, was severely criticised for his work on the Ramayana-inspired film. Weeks after the film failed at the box office, Manoj took to social media and extended an unconditional apology, accepting that “people’s emotions have been hurt by Adipurush. He tweeted, “I accept people’s emotions have been hurt by Adipurush. With folded hands, I extend my unconditional apologies. May Prabhu Bajrang Bali keep us united and grant us strength to serve our sacred Sanatan and our great nation.” (“Adipurush Writer Manoj Muntashir Extends an Unconditional Apology for Film's Dialogues: 'I Accept People's Emotions Have Been Hurt,'” 2023)
Apurva Asrani states about this that “People on social media are weaponizing movies to prove a political point. You don’t like a film, don’t recommend it. Don’t like its message, counter it with another story. But there are people keen to watch Adipurush. Also, if the makers are being threatened or pressured, we should stand by them in the name of free speech, like we did when Padmavat was being attacked.”(Fatima, 2023)
Initially it was seemingly presented by the film that the film is retelling of Ramayana but as in the trailer of the film as well it is told that the film is inspired by Ramayan. Thus due to major changes and modernising the story of Ramayana led to lots of dissatisfaction and controversies around this film. The statement of Apurva Asrani is quite justified in terms of political gain but free speech should always be welcomed. As he rightly states that “we should stand by them in the name of free speech”(Fatima, 2023)
Brahmastra: Part One – Shiva:
"Brahmastra: Part One – Shiva" is a 2022 Indian Hindi-language fantasy action-adventure film. It's written and directed by Ayan Mukerji. The film marks the inception of a planned trilogy, intended to be a part of the larger Astraverse cinematic universe. Drawing inspiration from Hindu mythology, the narrative centres around Shiva, an orphaned musician endowed with pyrokinetic abilities. He embarks on a journey of self-discovery, realising that he is an astra, a formidable weapon of immense energy. Shiva's quest is to safeguard the Brahmastra, the mightiest of astras, from falling into the clutches of dark forces with a shared history.
In Hindu mythology, the Brahmastra stands as a divine weapon crafted by the creator Brahma, with the noble intent of upholding Dharma (righteousness) and Satya (truth). When the Brahmastra was unleashed, it rendered all forms of counterattack and defence futile, save for one: the Brahmadanda, a staff also created by Brahma himself.
The Brahmastra's invocation required intense concentration and meditation upon its divine creator. Once evoked, it possessed the formidable power to vanquish an adversary who could not be conquered by any other means. However, this potent weapon could only be employed once a day, highlighting its unique and unparalleled destructive force.
The film Brahmastra is about various astras in which Brahmastra is the most powerful of all. There is Brahmash which protects Brahmastra from evil powers like Junoon and Zor who want to gain Brahmastra to overpower the world. But the central character Shiva who is in himself Agnyastra protects it from them. The use of the myth of Brahmastra and the use of High editing tools provides the movie the charm of visual effects. But fails somewhere in the narrative of the storyline of the film.
When we compare all four films as cinematic adaptations of myths, a common thread emerges—they all seek to reimagine the original myths. Filmmakers endeavour to infuse a sense of modernity into myths, especially evident in "Adipurush" and "Brahmastra." In "Raavan," the myth is symbolically portrayed with alterations to the original narrative, effectively conveying its essence. Meanwhile, "Ram Setu" aims to reconnect people with the sentiments and mythology surrounding Lord Rama.
However, when we scrutinise these alterations, it raises questions about the artistic liberties taken by writers and filmmakers in shaping the plot of the film. It's essential to recognize that cinema is not unique in this regard, as even written literature has a history of reshaping myths. Consider Tulsidas's Ramayana, which differs significantly from Valmiki's version in terms of scenes, dialogues, and even the language and places. Yet, the core of the story remains intact.
In these movies, set in the coexistence of ancient tales and modern times, the plots undergo significant alterations. Here, too, the question of artistic liberty remains a central point of discussion.
In the concluding remarks of "STUDY ON THE IMPACT OF CREATIVE LIBERTY USED IN INDIAN HISTORICAL SHOWS AND MOVIES," H. S. Harsha Kumar emphasises the need for a balance. He suggests that artistic liberty can be permissible to a certain extent, but standards should align with the fame of the characters involved. Additionally, the effects of such liberty should be carefully analysed and understood. Mere dramatic elements should not be a sole justification for altering facts beyond necessity. (Kumar, 2021, 97)
Conclusion:
In a nutshell, in India, where history, spirituality, and symbolism are intricately woven into its cultural fabric, myths have long played a vital role in shaping the nation's identity, values, and beliefs. Myths’ traverse through the mediums of oral tradition, literature, art, and cinema, serving as a bridge between tradition and modernity. These cinematic adaptations ranged from subtle alterations to major transformations, reshaping the core myths, altering their narrative tones, or infusing them with modern perspectives. Controversies, like those surrounding "Adipurush," highlighted the emotional and cultural significance of these myths in people's lives. Discussions around creative liberty underscored the need to strike a balance between artistic expression and respecting the reverence associated with these narratives. Thus the balance between artistic reinterpretation and honouring the source material, shedding light on the intricate interplay of tradition and innovation remains at the foundation while reimagining myth on the Silver Screen.
References
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