Sampoorna Ramayanam (Complete Ramayana, Tamil;1956)
(சம்பூர்ண ராமாயணம்)
The epic of Ramayana has fascinated people for ages. It has been narrated for generations via oral traditions, print media, stage performances and the silver screen. As early as 1922, a silent film on Ramayana came out in cinemas. Before this 1956 Tamil version, Hindi and Telegu versions of Ramayana can be found. Many other editions since then, and now, at the time of cable TV, Ramayana has permeated into households regularly.
There are many versions of Ramayana. Valmiki wrote the earliest one. Even Hanuman was concurrently writing his view on the occurrences of the day. With time, it evolved to Buddhist, Jain and South East Asian adaptations.
Valmiki's Ramayana is said to be the authentic text of Rama's life, but it ends with his coronation at the throne after his banishment to the jungles for 14 years and capturing Sita from Ravana. Other additions of vilification of Ravana as the classical evil bad guy and exile of a pregnant Sita after overhearing the murmur of a washerman remains folklore at best. Scholars who analysed these Sanskrit scripts agree that these were written in a slightly less refined language.
Sivaji Ganesan had already established himself as a reputable artiste by then, but due to his spirited way of acting, he was naturally not cast as Rama. Lord Rama, an avatar of Vishnu, the pillar of stoicism was played by the sombre, perhaps apathetic NT Rama Rao who later went on to have a very successful career in politics. Maybe, his casting in divine roles made the general public see him in a different light.
The first part of the film was very slow moving with most of the storytelling done through songs. This was the old way of economising time, to give value for money. The actor cast as Kaikeyi, the second wife of King Dasaratha, played a convincing role as a jealous mother worried about her position after her biological son is sidelined for the throne. She transforms well from a loving stepmother to Rama to a witch after being influenced by her foster mother.
Generally, people do not name their daughters Kaikeyi as she is perceived as the earliest villain of Ramayana. If not for her, demanding for her boons from the King, the whole hullabaloo of Rama going to the woods and the fight with Lanka would not have arisen. Lately, there is a reinterpretation of Kaikeyi's role in the whole saga. Her character was vital in Rama's development into a figure than himself. His dharma was plentiful in the jungle. There were many boons and work to be done there; not cooped in Ayuthia and rule a kingdom. For good things to happen, we need a jolt on the status quo. King Dasaratha is described as a smothering father who arrested Rama's development!
A cursory knowledge of Ramayana is mandatory to appreciate this movie.
As expected Sivaji who assumes the role of Barathan is at ease to display a melodramatic portrayal of a very loving brother of hearing that his thoughtful brother had been dethroned and banished. He rejuvenates the later part of the show with his presence.
Unlike the sermons in temples where Ravana is portrayed as a ten-headed fiery hot asura, in this movie, he is shown as a very decent human monarch. He is learned and is kind to all his family members, the royal court staff and his subjects. It is his sister, Shurpanakha, who fanned the fire of fury. It is his love of his sister that clouded his judgment. He went ahead to kidnap Sita. This was atypical of him; a scholar of many arts and sciences kidnapping somebody else's wife.
The film illustrates the turmoil that he goes through as he takes stock of his situation on the eve of his defeat. He regrets the destruction of his kingdom, the pain caused and the dilemma of whether to conceit defeat or to end his life in shame. To fight was sure failure but to commit suicide was cowardice. Bhagavathi plays the role of Ravana.
The song 'Indru Poi Naalai Vaarai' (Go today, Come tomorrow) is rendered in the film by C. S. Jayaraman. Here, Bhagavathi, playing Ravana, is in a dilemma. It was a day before the final kill. Ravana, having lost his army, meets eye-to-eye with Rama. Instead of giving the coup de grace, Rama tells him to go and return to fight the next day. This song has become an immortal melody. Composed in 'Thilang' raaga, an import from Sufi music, this song was successfully adapted by Guru Nanak and his disciples who composed several hymns. It was extremely popular with musical geniuses like Ravishankar, Bhimsen Joshi, violin maestro Lalgudi Jayaraman and musicologist G. S. Mani. The great Carnatic musician D. K. Pattammal recorded a song, ‘Shanthi Nilava Vendum,’ in this raaga on the occasion of the shocking death of Mahatma Gandhi in 1948.
(சம்பூர்ண ராமாயணம்)
The epic of Ramayana has fascinated people for ages. It has been narrated for generations via oral traditions, print media, stage performances and the silver screen. As early as 1922, a silent film on Ramayana came out in cinemas. Before this 1956 Tamil version, Hindi and Telegu versions of Ramayana can be found. Many other editions since then, and now, at the time of cable TV, Ramayana has permeated into households regularly.
There are many versions of Ramayana. Valmiki wrote the earliest one. Even Hanuman was concurrently writing his view on the occurrences of the day. With time, it evolved to Buddhist, Jain and South East Asian adaptations.
Valmiki's Ramayana is said to be the authentic text of Rama's life, but it ends with his coronation at the throne after his banishment to the jungles for 14 years and capturing Sita from Ravana. Other additions of vilification of Ravana as the classical evil bad guy and exile of a pregnant Sita after overhearing the murmur of a washerman remains folklore at best. Scholars who analysed these Sanskrit scripts agree that these were written in a slightly less refined language.
Sivaji Ganesan had already established himself as a reputable artiste by then, but due to his spirited way of acting, he was naturally not cast as Rama. Lord Rama, an avatar of Vishnu, the pillar of stoicism was played by the sombre, perhaps apathetic NT Rama Rao who later went on to have a very successful career in politics. Maybe, his casting in divine roles made the general public see him in a different light.The first part of the film was very slow moving with most of the storytelling done through songs. This was the old way of economising time, to give value for money. The actor cast as Kaikeyi, the second wife of King Dasaratha, played a convincing role as a jealous mother worried about her position after her biological son is sidelined for the throne. She transforms well from a loving stepmother to Rama to a witch after being influenced by her foster mother.
Generally, people do not name their daughters Kaikeyi as she is perceived as the earliest villain of Ramayana. If not for her, demanding for her boons from the King, the whole hullabaloo of Rama going to the woods and the fight with Lanka would not have arisen. Lately, there is a reinterpretation of Kaikeyi's role in the whole saga. Her character was vital in Rama's development into a figure than himself. His dharma was plentiful in the jungle. There were many boons and work to be done there; not cooped in Ayuthia and rule a kingdom. For good things to happen, we need a jolt on the status quo. King Dasaratha is described as a smothering father who arrested Rama's development!
A cursory knowledge of Ramayana is mandatory to appreciate this movie.
As expected Sivaji who assumes the role of Barathan is at ease to display a melodramatic portrayal of a very loving brother of hearing that his thoughtful brother had been dethroned and banished. He rejuvenates the later part of the show with his presence.
Unlike the sermons in temples where Ravana is portrayed as a ten-headed fiery hot asura, in this movie, he is shown as a very decent human monarch. He is learned and is kind to all his family members, the royal court staff and his subjects. It is his sister, Shurpanakha, who fanned the fire of fury. It is his love of his sister that clouded his judgment. He went ahead to kidnap Sita. This was atypical of him; a scholar of many arts and sciences kidnapping somebody else's wife.
The film illustrates the turmoil that he goes through as he takes stock of his situation on the eve of his defeat. He regrets the destruction of his kingdom, the pain caused and the dilemma of whether to conceit defeat or to end his life in shame. To fight was sure failure but to commit suicide was cowardice. Bhagavathi plays the role of Ravana.
The song 'Indru Poi Naalai Vaarai' (Go today, Come tomorrow) is rendered in the film by C. S. Jayaraman. Here, Bhagavathi, playing Ravana, is in a dilemma. It was a day before the final kill. Ravana, having lost his army, meets eye-to-eye with Rama. Instead of giving the coup de grace, Rama tells him to go and return to fight the next day. This song has become an immortal melody. Composed in 'Thilang' raaga, an import from Sufi music, this song was successfully adapted by Guru Nanak and his disciples who composed several hymns. It was extremely popular with musical geniuses like Ravishankar, Bhimsen Joshi, violin maestro Lalgudi Jayaraman and musicologist G. S. Mani. The great Carnatic musician D. K. Pattammal recorded a song, ‘Shanthi Nilava Vendum,’ in this raaga on the occasion of the shocking death of Mahatma Gandhi in 1948.
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