Complete List of Bollywood Movies of Ram Charan

Betting Raja (4K Ultra HD) Hindi Dubbed Movie | Ram Charan, Tamannaah Bhatia, Mukesh Rishi

Betting Raja (4K Ultra HD) Hindi Dubbed Movie | Ram Charan, Tamannaah Bhatia, Mukesh Rishi submitted by hindidubmovies to u/hindidubmovies [link] [comments]

The Mani Ratnam Rabbit hole Part 6(a) - Raavan(an)(2010)/ Thalapathi (1991) - The Epic Adaptations - The Antagonist Perspective

𝟭. 𝗥𝗮𝗮𝘃𝗮𝗻/𝗥𝗮𝗮𝘃𝗮𝗻𝗮𝗻(𝟮𝟬𝟭𝟬)
If you retell a story - you write it, tell it, or present it again, often in a different way from its original form. A new account or an adaptation of a story: it could be a retelling of a Roman legend, Greek legend or in this case an Indian legend. Sometimes, in the retelling, something new emerges, something that previously everybody has overlooked.
The essence of Indian mythology is obviously beyond the simple good vs evil trope. If you care to dig deep, there's an interesting story at every step.
We learn our first lessons of right and wrong from epics and it forms the base of our character for the rest of our lives. However, as we grow up, the complexities of the epics we grew up reading and listening to attract our attention.
As grown ups, we realize that it’s hard to departmentalize the aspects of life into boxes of white and black. We look at the epics in a new light and this time, with a little less judgement. One such character of the Indian epic, Ramayana, was that of Raavan, a person whose finer sides had always been less known.
Ravan played his role as a villain, but it was that of a much-needed villain, that brought balance to the equation. There are many people in the world, who still worship him. Thai, Lankan, Buddhist, Indian & several other Asian texts have different versions of Raavan's story.
As legend goes, Ravan was one of the most learned scholars to have ever lived. He had a keen interest in music and was a highly accomplished veena player.
The story goes that after shooting the fatal arrow on the battlefield of Lanka, Ram told his brother, Lakshman, “Go to Ravana quickly before he dies & request him to share whatever knowledge he can. A brute he may be, but he is also a great scholar”. Lakshman sat beside the dying demon-king and learnt from him important lessons in statecraft and diplomacy.
Keeping in theme, Mani Ratnam does it again, presenting anti-establishment narratives through retelling of epics.
(𝘎𝘰 𝘵𝘰 𝘍𝘪𝘭𝘮𝘪𝘯𝘨 𝘴𝘦𝘤𝘵𝘪𝘰𝘯 𝘪𝘯 𝘞𝘪𝘬𝘪𝘱𝘦𝘥𝘪𝘢 𝘵𝘰 𝘳𝘦𝘢𝘭𝘪𝘴𝘦 𝘵𝘩𝘦 𝘥𝘪𝘧𝘧𝘪𝘤𝘶𝘭𝘵𝘺 𝘵𝘩𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘸𝘦𝘯𝘵 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘰 𝘣𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 2 𝘧𝘪𝘭𝘮𝘴 𝘪𝘯𝘵𝘰 𝘦𝘹𝘪𝘴𝘵𝘦𝘯𝘤𝘦)
Abhishek as Beera/Vikram as Veeraiya 'Veera' meaning Brave, a gangster in a rural area. He is nicknamed 'Ravan' since he is seen as a hero by locals but as a villain by outsiders.
Govinda as Sanjeevani KumaKarthik as Gnanaprakasam, A forest ranger who has worked in the jungle for 25 years and he helps Dev find Veera's gang. He enjoys joking around. Hanuman served as an inspiration for this character.
Aishwarya Rai as Ragini, Dev's wife who is kidnapped by Veera and kept in the jungle for 14 days. Her character is based on Sita. As per Ramayan Sita is considered an avatar of Goddess Lakshmi. Raagini is another name for Lakshmi.
Vikram/Prithviraj as SP Dev Sharma/Prakash, Superintendent of Police who wants to shut down Veera's crime empire. His character is based on Lord Ram. Dev is an Indian name derived from Sanskrit देव (deva) meaning "God".
Ravi Kishan as Mangal/Prabhu as Singarasu, Veera's elder brother who supervises everything in the gang. He also loves to eat & sleep like the character of Kumbhakarna in Ramayan.
Priyamani as Vennila, Veera's half-sister who wants to marry Velan. On her wedding day, Veera was shot by Dev and the police forcefully brings her to the police station where she is brutally raped. She eventually commits suicide, prompting the events of the film. Her character is loosely based on Shurpanakha.
Nikhil Dwivedi/John Vijay as DSP Hemant & the main perpetrator in Vennila's rape assassination. He is Dev's trusted deputy. His character is loosely based on Lakshman.
(𝘍𝘰𝘳 𝘰𝘵𝘩𝘦𝘳 𝘤𝘰𝘳𝘳𝘦𝘴𝘱𝘰𝘯𝘥𝘪𝘯𝘨 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳𝘴 𝘤𝘩𝘦𝘤𝘬 𝘸𝘪𝘬𝘪)
𝐁𝐞𝐡𝐢𝐧𝐝𝐰𝐨𝐨𝐝𝐬 𝐀𝐧𝐚𝐥𝐲𝐬𝐢𝐬 𝐛𝐲 𝐇𝐞𝐦𝐚𝐝𝐫𝐢
In the era of intellectually lazy film making Raavan is a superior modern exploration of psychological interactions. The reason why it has possibly disappointed the masses is because it is not a kidnap-rescue story or a terrorism story (just like Kannathil Muthamitaal was not a story about the Sri Lankan war; like Roja and Dil Se were not about terrorism). Raavan(an) like the rest of Mani Ratnam's stories is about complex human emotional relationships.
The already much praised visual poetry is apparent all the way through, hats off to Santosh Sivan. What is also true is the effort put into every frame by every actor. The physical effort is also very visible all the way through. Having said that, it is out and out a director's movie.
Mani Ratnam has given his personal twist to the Tamil Dravidian version of the Ramayana. The gist of that version & some parts in the Thai version goes like this - Sita is Ravana's daughter & the destiny is that if they lived together Ravana's entire clan would die; hence Ravana plants Sita in Janaka's gardens to ensure that she grows as a princess that she is; when Sita is living in the forest being constantly attacked by various demons it is to rescue her from a terrible situation that Ravana takes her away - father's love to protect offspring. Perceptions overtake reality, honor overcomes reason and Ravana dies. This is a version that remains unacceptable for most Indians including Tamils.
Using cinematic license with the Dravidian Ramayana threads, Mani Ratnam uses the theme of 'protection' while changing the relationships. Another excellent use of artistic liberty is the reversal of 'Indru poi naalai vaaraai' situation. Bad heroes prevail and good villains perish, makes one wonder if good and evil are really as polarized as we always thought it was.
When the Stockholm syndrome or reverse Stockholm syndrome (Lima syndrome) is denied or portrayed in men or foreigners it would have been acceptable to Indians. But in the case of an Indian married woman and that too a policeman's wife and a forest brigand with its social class differences along with some shades of romance thrown in, is obviously too hot to handle even when implied and anathema when explicit. So understandably the mental resistance to see the film with the usual suspension of disbelief is very high much before the titles are shown. Get over it, grow up and Raavan(an) becomes actually enjoyable.
A particular genre of Indian commercial film consists of uninteresting variations of the formula in which melodramatic metaphorical people hanker after committed yet confused birds right up to the altar, mistaking their exaggerated puppy crushes for love which is spewed out as a psychotic roller coaster of songs, hyper-hormonal dancing, trashed villains and repeatedly predictable endings in international settings. That is enjoyable too, if one wants to switch off from their busy lives and tune into some mind-free movie viewing. The problem is we are used to doing this too often that when a movie is made like it ought to be made we are losing the ability to recognise it.
If you did not like Raavan(an) & are wondering why it did not rock the box office, look into the mirror and not at Ratnam. Raavan(an) is for grown ups.
𝐀𝐫𝐭𝐢𝐜𝐥𝐞 𝐛𝐲 𝐒𝐚𝐧𝐣𝐮𝐤𝐭𝐚 𝐒𝐡𝐚𝐫𝐦𝐚 𝐟𝐨𝐫 𝐥𝐢𝐯𝐞𝐦𝐢𝐧𝐭
From the very first scene, Raavan is a visual whirl. In hippy language, trippy. In one of the earliest sequences in the film, Raagini (Aishwarya) is on a boat alone in the middle of a ferocious river when an eagle swoops down. She looks at it, the bird looks at her (a nod to Jatayu bird?). And then she looks up, to where her predator Beera/Veera (Abhishek/Vikram) is staring menacingly at her. Thick, misty air; howling waterfalls; barren trees; pouring rain; gigantic, ancient Vishnu statues surrounded by deep green trees—the forests where the film is shot make for our own natural Na’avi land (from Avatar). The film is a visual paean to Lal Maati, the fictional place where nature is beautiful and inscrutable.
But the technical inventiveness, unparalleled in Indian cinema, is a waste. In stylistic terms, there are some inventions. Visuals convey Ragini’s thoughts in one of the scenes. Intercut between a scene where she is lying inert on a damp, mossy gorge, is a scene of her crying out to her husband, standing by the river, to be rescued. There are a number of scenes like this, where desires, thoughts and imagination get translated into visuals. But how much can visuals speak the creator’s thoughts? Ratnam’s heroes are Santosh Sivan and V. Manikandan, the cinematographers of Raavan.
Set in a forest inhabited by a tribal community, the demon is Beera/Veera. He is a terror. The village is his fiefdom and he is both loved and hated by his people. His foe is the local superintendent of police Dev (Vikram/Prithviraj), who is posted in the district. Ragini, Dev’s wife, is a dance teacher who is besotted with him.
Beera and his band of men are armed goons who are fighting the establishment to avenge atrocities on them. Beera kidnaps Ragini, and Dev’s efforts to rescue her and kill Beera propel the rest of the story. While in the forest, Ragini is defiant, refusing to give in to Beera’s growing interest in her. Ratnam turns the Ram-Ravana-Sita triangle around, giving it a radical twist.
The subtext is, of course, Maoist rebellion. The tribal men are plunderers who, Ratnam suggests, turned violent after years of injustice. The government’s armed forces can’t get to them, although they are shown making constant inroads into the thick jungles. Ratnam has treated the forest with reverence. There are certain rules here, and some logic-defying situations. Human beings here can read thoughts and understand what another human being needs. Often, Raavan is ghostly, vanishing from a place in a fraction of a second.
𝑻𝒉𝒊𝒏𝒌𝒊𝒏𝒈 𝒄𝒂𝒑𝒔 𝒐𝒏, 𝒍𝒆𝒕'𝒔 𝒅𝒊𝒈 𝒅𝒆𝒆𝒑
𝙋𝙖𝙥𝙚𝙧 𝙤𝙣 𝙎𝙪𝙗𝙫𝙚𝙧𝙩𝙞𝙣𝙜 𝙊𝙪𝙧 𝙀𝙥𝙞𝙘𝙨: 𝙈𝙖𝙣𝙞 𝙍𝙖𝙩𝙣𝙖𝙢’𝙨 𝙍𝙚𝙩𝙚𝙡𝙡𝙞𝙣𝙜 𝙤𝙛 𝙩𝙝𝙚 𝙍𝙖𝙢𝙖𝙮𝙖𝙣𝙖, 𝙗𝙮 𝘼𝙢𝙞𝙩 𝘽𝙖𝙨𝙤𝙡𝙚
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 & raises the disturbing possibility that our myths of morality & bravery are someone else’s stories of rape & conquest.
The recasting of Raavan as the wronged subaltern & Ram as the scheming agent of imperialism brings to mind similar reinterpretations of other Hindu legends by Phule, which completely subvert the orthodox interpretation. In the context of the ongoing struggle between the tribals & the State, one hopes that the movie Raavan might stir this debate up once again.
Ratnam’s Raavan, starring Abhishek , Aishwarya, Vikram, Ravi Kishan & Govinda has received generally bad reviews & was a failure at the box office as well. It also suffers from some flaws such as bad acting & complete lack of attention to details. Yet, from the social & political standpoint the film’s grafting of the Ramayana on the conflict between adivasis & the Indian state is well worth thinking about. In this review we explore this dimension of the movie.
𝐀𝐥𝐥𝐮𝐬𝐢𝐨𝐧𝐬 𝐭𝐨 𝐌𝐚𝐨𝐢𝐬𝐦?
The opening sets the overall tenor with a montage showing police parties being attacked by adivasis even as Beera, the adivasi leader celebrates by playing on the drum. But the narrative really starts with the abduction of Ragini by Beera. Ragini is the wife of Dev, a police officer who is posted as the Superintendent of police (SP) to a place called Lal Mati to deal with the notorious adivasi outlaw, Beera Munda. One assumes that Lal Mati is a district town somewhere in India, since SPs are not posted to villages, but the movie is not clear upon this point. Lal Mati is largely out of police or State control and is run by the writ of Beera, who is shown to be brutal and violent but at the same time to be loved and respected by the locals. One can only wonder if Lal Mati (Hindi for Red Soil) is a reference to the fact that the soil is controlled by the Maoist party. There is no other explicit reference to Maoism in the movie. The first half of the movie passes without the viewers knowing the reason behind Ragini’s abduction. Rather there is some shuttling back & forth between a purported adivasi village & the forest. One need not dwell too long on the authenticity of the adivasi village or for that matter the adivasi song & dance. Suffice to say that these affirm faithfully to a citydweller’s idea of what such villages may look like. Intriguingly the forest is the only substantial location in the entire movie. No city, town or village is shown long enough to create an impression.
Thus the feeling is one of placeless-ness & this perception is complemented by the confused accents. Ravi Kishan, the Bhojpuri movie star who plays one of Beera’s brothers of course does a good job with his Bhojpuri accented Hindi. Further, the relationship between Beera’s adivasi village & the town of Lal Mati is never clarified. Confusion of place is compounded in the second half when Beera’s sister is shown as getting ready for her wedding in a large rural dwelling which is certainly not in the adivasi village and the location of which is not made clear. Instead, most of the script is occupied in developing the relationship between Beera & his captive Ragini. The movie moves to a climax with the police getting the better of Beera & gunning him down to the protestations of Ragini who has begun to see Raavan’s side of the story of the Ramayana.
𝐀 ‘𝐇𝐮𝐦𝐚𝐧’ 𝐑𝐚𝐚𝐯𝐚𝐧
Aside from the stunning visuals, the socio-political resonances are strong and it is these I will now explore. The story recasts the highly politically relevant contradiction between the adivasis and the State, as represented by its police force, into the framework of the Ramayana. Almost all the main characters of the Ramayana, viz, Ram, Sita, Laxman, Hanuman, Vibhishan, Kumbhakarna, Shurpanakha & of course the eponymous Raavan, have their counterparts in the script. However the essential message of the Ramayana is turned if not on its head, then at least sideways. Ram is no longer maryada purushottam (the ideal man in complete control of his senses & actions), nor is Raavan the unreconstructed demoniacal figure of popular understanding burned every Dussehra.
Conventionally Raavan has been humanised by citing his devotion to Shiva, his learning of the Vedas or his playing of the veena. Here he is human because he has suffered injustice and oppression at the hands of the State and has decided to fight back. His sister, an adivasi woman who dares to love and seeks to marry a brahmin boy is apprehended in a raid conducted by Ram even as she is getting married. She is later gang raped inside a police station.
Laxman (also called Laxman in the movie), a cop, assists in this “cutting off of Shurpanakha’s nose”. She subsequently commits suicide. Raavan(Beera) who is already a force to reckon with in his community, a king for all practical purposes, seeks to avenge this act and abducts Sita. Independent of this particular aggravation at the hands of the police, Raavan is a rising threat to the State which Ram represents. Beera the adivasi is openly challenging the authority of the police in his neighbourhood. The cop, Dev Pratap Sharma, has been sent to quell this adivasi who is a Munda, the same tribe that claims the famous Birsa among its members. The symbolism is thus simply crammed into the script.
𝐆𝐨𝐨𝐝 𝐟𝐨𝐫 𝐎𝐧𝐞, 𝐄𝐯𝐢𝐥 𝐟𝐨𝐫 𝐀𝐧𝐨𝐭𝐡𝐞𝐫
Despite, or perhaps because of its bluntness, the movie challenges some deeply held beliefs on the nature of good & evil in Indian culture. The epics, and in particular the Ramayan still occupy a place of prominence as fables of morality. The Ramayan in its popular version is free even of the moral ambiguities to be found in the Mahabharata. Raavan raises, in very clear terms, the disturbing possibility that our myths of morality and bravery are someone else’s stories of rape & conquest. Our heroes are villains in stories told in other places, not in faraway countries, but in our own heartland. And our villains might just have been people whose only fault lay in not submitting to our rule.
The confusion that we are thrown into as a result of this reversal of viewpoint is clearly (& amusingly) on display in a brief review of the movie I read in the Banaras Times. The author of the review describes Lal Mati as “A town where the word of law is not the police but Beera, a tribal who has, over the years, shifted the power equation of the place from the ruling to the have-nots of the area.” Further, the reviewer notes that the police seek primarily to bring order & not justice. Thus “Dev knows that the key to bringing order to any place is to vanquish the big fish; in this case – Beera.”
At the end of the review, in describing the nature of the fight between Beera and the SP, the reviewer says it is a “fight between good & evil” with good being represented by the SP. The review of the movie’s Tamil version does admit that the lines between good & evil get blurred. That part was left out in the newspaper review. Thus wittingly or unwittingly the reviewer has captured perfectly the dissonance that such a reinterpretation creates. The fight between Ram & Raavan must of course be a fight between good & evil, but it also cannot be denied that Raavan has made the have nots stronger. The message is clear: it is evil to defend the poor & good to defend the rich & the ruling class.
𝐀𝐥𝐭𝐞𝐫𝐧𝐚𝐭𝐢𝐯𝐞 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬/𝐏𝐞𝐫𝐜𝐞𝐩𝐭𝐢𝐨𝐧𝐬
This is of course not the first time that timeless tales have been retold from the opposite viewpoint. In reinterpreting history from the rakshasa point of view Mani Ratnam is in the august company of Mahatma Jyotirao Phule, the anti-caste thinker & activist of the 19th century. A retelling of the Ramayana which casts Raavan as the wronged subaltern & Ram as the scheming agent of imperialism brings to mind similar reinterpretations of other Hindu legends by Phule.
𝐁𝐥𝐨𝐠 𝐩𝐨𝐬𝐭 𝐨𝐧 𝐜𝐡𝐚𝐢𝐛𝐢𝐬𝐤𝐞𝐭.𝐜𝐨𝐦 𝐛𝐲 𝐏𝐫𝐚𝐛𝐡𝐚𝐥𝐚 𝐓𝐢𝐥𝐚𝐤
This Study Of The Characters In Mani Ratnam’s “Villain” Tells You Why It Is A Misunderstood Epic!
How do I start talking about this epic film? To a lot of us, it is very clear that, Ramayan is the underlying theme in Raavan/Raavanan/Villain. But, to a very few, it is not known. But, I realized that, knowing the underlying theme or not knowing it does not affect the experience in any way if you’re not watching it clearly. Raavan is that film which requires a lot of concentration and a lot more serious viewing. Because, in here, more than Ramayan, the 3 characters of Ram, Raavan and Sita are explored. Explored to a greatest extent. Explored in an unexplored format. And explored more than beautifully.
I’m aware of the fact that, this film did not do well at the BO. I’m not even arguing about that. All I want to share is our immature way of looking at a cinema. Raavan, as a film, opened up my mind on how to watch something that is told to me so many times. It actually changed the way I look at films. Because, Raavan has a perspective of MR’s own. He narrated a new story from an old story.
So, the movie opens up with this visual. Veera/Beera standing on a hill top. He pushes a small stone into the river that is flowing underneath.
Intercuts happen between Veera jumping into the water and police people being attacked by Veera’s followers. And immediately Raagini is on a small boat. An eagle lands on Ragini’s boat and Ragini just stares at it. Then, a bigger ship comes closer to this boat & the shadow of that ship is on her face. Her face is occupied by the shadow & the Ship hits the Boat. After she is kidnapped, the very first dialogue she utters to Veera and his people is “Naku nuvvante Bhayam ledu”. Not only that one instance, there are so many scenes in which she says that, she’s not scared of Veera.
Veera holding a gun in out focus and Ragini’s face in the background. Let me tell you the reason for mentioning all this in detail. Raavan/Villain is all about that shadow changing its place from Raagini to Veera, gun changing its position from Veera’s hand to Raagini’s & Veera jumping off the same cliff he was first shown standing. Take a look at these images. (𝘚𝘦𝘦 𝘢𝘳𝘵𝘪𝘤𝘭𝘦 𝘭𝘪𝘯𝘬 𝘢𝘵 𝘵𝘩𝘦 𝘦𝘯𝘥 𝘧𝘰𝘳 𝘢𝘭𝘭 𝘪𝘮𝘢𝘨𝘦𝘴)
MR tried to tell us that, Ram & Raavan are equally powerful. To justify that, he reveals the backstory of both the characters that led them to the opening sequence through intercuts. Dev, driving his jeep goes back to the first day of work in that city. Through his perspective, Veera is established. All the bad deeds Veera had done & his reason to arrest Veera. That 1.5 minute sequence is shot & cut very interestingly. The camera movement is so subtle. When Dev starts off to reveal the crime history of Veera, camera movement is slow. When he goes on with the narrative, camera movement gradually catches up speed. That camera movement alone is enough to establish the intense rivalry between a cop & a criminal. Simultaneously, it establishes, Dev as the good guy & Veera as a bad guy. But, not to forget, both are equally powerful.
In this film, MR did not want to tell Ramayan in that exact setup. He just wanted to talk about the grey side of Ram & White side of Raavan. Though, we all know that it is not true, he still wanted to put forward that perspective. But, why? I think that is what a poet does. Talking about the dark side of the light & the bright side of the night. And after having that clarity, just look at the way he took these characters to the end.
𝐑𝐚𝐦 – 𝐃𝐞𝐯 – 𝐏𝐫𝐢𝐭𝐡𝐯𝐢𝐑𝐚𝐣/𝐕𝐢𝐤𝐫𝐚𝐦 :
So, I told you that, MR wanted to explore the dark side of Dev’s character. But, how do we reach the dark side without being really dark? I think, it is possible only by taking that character & dipping him in the white, slight grey and complete grey cups. Because, that way it is gradual. It is convincing. It looks like a story being told. To mark those 3 color cups, there were few scenes. Talking about the white, he is introduced as someone who is strict and sincere at his job. In fact, throughout the film, he’s on duty. Sincere & honest. To add to that, remember the scene where he interacts with the guy who piloted the boat? This one. He asks him about Raagini. He even offers him water to quench his thirst.
But, when the movie flows, he reaches a similar situation where he come across another guy with one hand cut, to guide them to Veera. Just look at the way he behaves with him. His hand was cut and put in the other one. Yet, this “White” Dev will not be bothered about his pain. The first question he asks is about Veera.
See the shift in there? That shift from asking about Raagini to asking about Veera? That shift from white to partial grey? That is what I call as cinematic magic. After this, he goes on to explore the grey part further. To justify his shift to complete grey, there is a scene where he kills the messenger of Veera. That shapes Dev in to a full-grey-man.
Not only this, even the way Veera grows on Dev is so artistically told. Just look at the scene once again. In this, Dev holds the photographs of Raagini & Veera and turns them around. It gradually catches up speed. And finally stops at Veera’s photo.
That brilliantly & poetically reveals Dev’s state of mind. It says that, more than his wife being kidnapped, he is occupied with Veera. Ram is not worried about bringing back Sita in this adaptation. Ratnam tried to see the possibilities in that context. Just took 3 primary characters & put them in the premise of Ramayan set up in this world.
𝐑𝐚𝐚𝐯𝐚𝐧 – 𝐕𝐞𝐞𝐫𝐚 – 𝐕𝐢𝐤𝐫𝐚𝐦/𝐀𝐛𝐡𝐢𝐬𝐡𝐞𝐤 :
This character interestingly starts off with a grey touch & converts into almost white. Similar to the graph of Dev’s character, Veera’s graph is also subtle, gradual and convincing. Whenever Dev steps into a grey cup, Veera steps into a white cup. Right before he kills the messenger of Veera, there is this scene. Veera listens to the messenger & is actually ready to let go of his fight/grudge on Dev. That is the only reason for sending that messenger to talk to Dev about the compromise.
Right before Dev inquires about Veera’s stay with Venu, Veera avenges his sister’s death. According to him, Venu was one of the reasons for his sister to commit suicide. So, he believed that it is right to take off Venu’s hand. That is his partial shift towards righteous deeds.
And in the opening sequence of the film, Veera orders his men to attack the police. The reason for it is just his natural vengeful attitude. And abducting someone’s wife makes him completely evil.
This graph of the characters is what Raavan is all about. After we’re told that Veera has shifted to a whiter space and Dev to a greyer space, Mani Ratnam wanted to test our intellect once again. In the climax fight, where Veera’s intent is purer than Dev’s, look at the costumes they wear. To our surprise, Dev wears white and Veera wears black.
𝐒𝐢𝐭𝐚 – 𝐑𝐚𝐚𝐠𝐢𝐧𝐢 – 𝐀𝐢𝐬𝐡𝐰𝐚𝐫𝐲𝐚:
More than Ram(Dev), Sita (Raagini) is focused on in the film. After a point, the film seems to be talking about the relation between Raagini & Veera & Dev looks like an outsider. That is a very conscious decision in the writing. In fact, Raagini’s character is more like the thread that hangs between Dev and Veera. It just keeps elongating and turning. As this thread turns and stretches, the rivalry between the persons at the opposites (Dev and Veera) increases.
Raagini is like a catalyst in a chemical reaction. It boosts up the process. Raagini’s character starts off as someone who is devoted to her husband. Fearless. Independent. In fact, the very moment she expresses her fearlessness to Veera is when he starts to develop feelings for her. Her strength is so much that, it seduced the antagonist. When she starts to understand the positive side of Veera, she slowly shifts towards him. It is also very gradual. When Veera expresses his feelings for her on a spinning coracle, notice the costume of Raagini.
She wears a saree of a villager. It marks her shift towards Veera. (There is even a dialogue about the costume in that scene) When, she’s on the verge of loosing the anger against Veera after listening to his story, she goes to a Vishnu statue and asks him for strength. Begs him to give her enough courage to not loose her love towards her husband.
Beauty in that scene is the location and the setup. So, to conclude this character, she shifts from being bold enough to stay strong when she was kidnapped to being scared and sensitive when she’s set free. A strange shift.
I know that I didn’t cover a lot from this epic. I even know that, I wouldn’t be able to cover everything about these characters. Because, Raavan is consciously shaped that way. It is intellectual & constantly questions the viewers’ intellect & perception. It is very easy to be disconnected from anything. But, if you stay connected & understand these kind of films, you grow. Grow as audience. Grow as intellectual person. Grow as human being.
𝐁𝐚𝐫𝐚𝐝𝐰𝐚𝐣 𝐑𝐚𝐧𝐠𝐚𝐧'𝐬 𝐫𝐞𝐯𝐢𝐞𝐰 𝐚𝐫𝐭𝐢𝐜𝐥𝐞:
WHEN I HEARD THAT MANI RATNAM WAS SHOOTING an antagonist-centric update of the Ramayana, titled Raavan, in the darkest hearts of distant jungles, I wondered if the attempt was to delineate the villain through his surroundings, like how the untamed moors are a manifestation of Heathcliff’s uncivilised inner life. As it turns out, it’s more an excuse to allow the cinematographers to run riot. No one, really, walks into a Mani Ratnam movie expecting a mumblecore aesthetic, but even by his skyscraping standards, Raavan is a spectacle – perhaps too much so.
If there’s a movie that Mani Ratnam could have gone mumblecore with, it’s this one, a psychologically driven art film dressed up as glitzy, plot-motivated commercial cinema, with fussed-over Sabyasachi costumes on a heroine who’s never allowed to look anything less than breathtaking. Even her bruises are beautiful. It takes real effort to pull your eyes away from the sparkling surface and peer deep into the narrative, which reimagines the Ramayana in an intriguingly idiosyncratic fashion.
At first, you wonder what more can be done with this musty epic. There have been metaphorical extrapolations like Lajja, which dealt with multiple Sita figures strewn throughout the journey of a repressed Sita-figure rediscovering herself. Then there are the more literal adaptations like Neelkamal & Khalnayak. In the former, a chaste wife is suspected of infidelity, chased away while pregnant, and forced to take refuge at the feet of a holy man until the helpful Hanuman played by Mehmood engineers a deliverance. And Khalnayak had monkeys surrounding the hero and villain locked in mid-fight, along with a proto-feminist Sita who went after Raavan in order to nab him for her Ram. Pinjar, too, dealt with the gradual easing of anxieties between a hapless victim and her abductor, a Raavan who wasn’t a mythological moustache-twirler so much as a life-sized human being whose only blemish was being painted in grey shades.
So when we enter Raavan, it’s with the question whether Ratnam is going to do, again, what worked so winningly in Thalapathi, where he retold the Mahabharata without actually reimagining it. It was a straightforward interpretation situated in the modern day. Raavan, too, has its share of parallels with its source material – an exile based on the number fourteen, the villain’s sister being hauled up by the nose, a bridge connecting protagonist and antagonist, the lovable sidekick-monkey (cheerfully played by Govinda, and named Sanjeevini Kumar) who even rattles off couplets styled like the Chaleesa. And once again, Ram (a scowling Vikram, who doubtless had more opportunity to flex his acting chops in the Tamil version, as Raavanan) casts unjustified and uncharitable doubt on Sita-Ragini’s chastity, when she’s attired in virgin-white, no less.
But this Ram – named Dev (like the deity that he is), & employed as an SP (like the upholder of dharma that he is) – isn’t beyond torturing an armless man to extract information about his abducted wife’s whereabouts, or shooting a messenger of peace in the back after guaranteeing non-violent negotiations. No wonder the latter scene plays out in the dark of night, as befits the deeds of demons, witnessed only by a mute moon. Beera, on the other hand, is introduced with the sun shining over him, and even when he kidnaps Ragini, it’s in broad daylight (as opposed to the skulking maneuvers of a villain). The fight on the bridge may have these adversaries in their mythical colours – Ram in white, Raavan in black – but the narrative doesn’t paint them so conveniently.
Like Ram Gopal Varma did with his Sarkar films – trusting that we know the overall arc of the Godfather saga & therefore do not need to be shepherded through minutely detailed plot points – Ratnam abandons a linear this-happened-then-that-happened story in favour of flavourful highlights that simultaneously replay and reinterpret what we already know. How does Dev, in his quest to annihilate Beera, sniff out the location of the wedding of Beera’s sister (Priyamani)? Or how does Sanjeevini wend his way to Ragini in the midst of her armed captors? These are questions that need no answers. Ratnam knows that we know the answers in our heads, and this liberates him to pursue a level of narrative abstraction we haven’t witnessed since the first half of Dil Se.
Because of this approach, the outside-world issues that usually gnaw at us in this director’s films – like the political environment of the town of Laal Maati (Red Earth) – cease to matter. Ragini wonders if Beera is Raavan or Robin Hood, & that’s all we need to know, that this villain is for the exploited & against the establishment. There’s little use pondering if the redness of this earth is an indication of Beera’s communist-Maoist leanings, because the story unfolds at an abstract-mythic level. The more urgent subtext is that of the moral victory of the uncivilised over the civilised. The educated Dev is more savage than the unlettered jungle dwellers – even Sanjeevini, with his halting English, seeks a peaceful resolution to the conflict, while Dev prefers to let his gun do the macho talking.
Ratnam hasn’t completely broken away from the homey style we’ve come to associate with him. An interlude with Beera, his sister and her fiancé is a typically endearing example of fleeting characters being established with colourful brushstrokes and too-quippy dialogue. And there are several moments so loaded with pointed detail that they reveal themselves only upon looking back – the rape victim who refuses to uncross her legs even after she reaches home, the poetic justice of a tragedy in water being avenged by an abduction in water, a bird’s eye view of Ragini turning out to be a literal bird’s eye view (and Ragini being associated, later on, with this bird; “chidiya ki tarah phadphada rahi hai”), or the whisper of a kinky sex life in the case of Dev and Ragini, whose bedroom is walled with mirrors.
Further familiarity comes from the invocations of images from earlier Mani Ratnam movies – the rains, the mirrors, the cigarette-smoking hero, the gargantuan statue in the wilderness (from Kannathil Muthamittal), the man slinging along huge fish (Aayitha Ezhuthu), the song sequence of boisterous revelers in the rain (Nayakan), the trauma of rape leading to terrorism (Dil Se), the camera swooping madly around a triangular formation of characters (from Thiruda Thiruda; what are the bets that the Jimmy Jib operator ended up with a six-pack after the Raavan shoot?), the song sequence featuring a spouse in an abandoned cottage dreaming of a loved one who dances with children (from Roja), and indeed, the plot of Roja itself, only gender-reversed this time around, the husband setting out in search of the kidnapped wife.
But these totemic images apart, Ratnam, in Raavan, doesn’t set out to pleasure his audience in ways we expect him to. There are, naturally for a story of this nature, the derigueur masala moments, like the whistle-worthy scene where Dev burns holes in a newspaper image of Beera and his merry men – but the other must-haves of commercial cinema are glossed over. Ratnam stages AR Rahman’s songs as if they were perfunctory pit stops along the way. Ratnam is not terribly interested in genre thrills either. The action sequences are equally perfunctory, a hazy clutch of hyper-edited movement that registers at a corner of the eye.
Even the drama is free of detonations. You expect the abduction to be a frantic set piece, & instead, it’s a serene image of boats colliding on a lake. You expect Dev to come home & find his wife missing & go crazy with worry, & instead he receives the news over a walkie-talkie and signs out grimly, betraying not a flicker of emotion. (In fact, were it not for the snappy happier-times flashback, with those kinky mirrors, we might have wondered about the kind of marriage that Dev and Ragini had, and the stunning climax hints at more domestic trouble.) Even Hanuman’s withdrawal from Lanka (namely, Laal Maati) isn’t through a flaming circus act but a lengthy stretch of grown-up conversation.
The most interesting aspect of the narrative, however, is the way it holds back information in favour of later-on revelations that reshape our earlier experience. When we first see Beera, he has a plaster on his throat, but only later do we realise that this wound is a marker of how recent a tragedy was, a fact never spelled out in words. When a gold watch is given to someone, or when his hand is subsequently chopped off, or when a policeman is tonsured and tortured, we are outraged on their behalf, until later events inform us that they may well have deserved their fates. With commercial cinema, the expected style of narration is to establish a tragedy first, get the audience to empathise, and then punish the wrongdoers so that we can rejoice in their being brought to well-deserved justice. But here, our emotions are constantly confounded. Heroes turn villains at the bat of an eyelid, while villains display stoic reserves of heroism.
The equally unexpected love triangle is set up in one deft visual. Dev holds out a photograph of Ragini to tribals, asking if they’ve seen her. And slowly, he slides out a photograph of Beera that was hidden behind Ragini’s. Beera, now, has literally come between Dev and Ragini, and his thawing towards his victim is amongst the most extraordinary passages of Raavan. Ranjha ranjha echoes in the background – not the sprightly love song from the soundtrack album, but a lovelorn dirge that sounds as if rendered by a meth-addict whose fix has just kicked in. Over the refrain Jal jaa jal jaa ishq mein jal jaa, Beera is inflamed by Ragini’s attempts to escape – at one point, his hands hover over her chest until sense prevails.
And she responds too, for in the next scene, she’s attired like one of them. She asks to be set free, but her request, now, is a statement, not the scream from before. Even she seems unconvinced. That’s why Ragini seeks reassurance that Dev still loves her, that the mere idea of him is still worth hanging on to in the presence of this new attraction in her life. When Beera says that he saw a picture in Dev’s tent, she looks at him expectantly, and her face falls when he says it was his picture. (The line, however, is hilarious: “Raja ke tambu mein rakshas ka photo.”) And later, when Sanjeevini appears just as she’s discovered that her husband may have contributed to her plight, she reacts not with happiness but hesitation. “Woh khud kyon nahin aaye?” she asks Sanjeevini. That’s what she wants to know first, why Dev did not come to claim her.
But elsewhere? Imagine Toshiri Mifune in a Noh-styled Kurosawa drama imbued with the gesticulations of a silent-film scoundrel, and hissing like a rattlesnake making furious love to a tambourine – and you have the general idea. (Bachchan’s scenes are often shot with a jittery camera, possibly to highlight how unhinged he is, but this only accentuates how off-putting the performance is.) If the attempt was to be crowd-pleasing in the mythical (or even masala) sense while staying true to character, he might have looked closer at costar Ravi Kishan, who plays Beera’s loyal brother. The latter, with half the effort, achieves twice the effect.
(𝑫𝒐 𝒘𝒂𝒕𝒄𝒉 𝒕𝒉𝒆 𝑨𝒔𝒌𝑩𝒓 𝑺𝒆𝒔𝒔𝒊𝒐𝒏 𝒊𝒏 𝒕𝒉𝒆 𝒍𝒊𝒏𝒌 𝒇𝒐𝒓 𝒅𝒆𝒕𝒂𝒊𝒍𝒆𝒅 𝒂𝒏𝒂𝒍𝒚𝒔𝒊𝒔)
𝗙𝗼𝗿 𝗧𝗵𝗮𝗹𝗮𝗽𝗮𝘁𝗵𝗶 𝗮𝗻𝗮𝗹𝘆𝘀𝗶𝘀 𝗰𝗵𝗲𝗰𝗸 𝗣𝗮𝗿𝘁 𝟲(𝗯)
  1. AskBr Session on Raavan(an) | Baradwaj Rangan | Film Companion -
  2. Raavan(an) | Review by Baradwaj Rangan -
  3. Raavan(an) | Blog post analysis by Prabhala Tilak -
  4. Raavan(an) | Paper on Subverting our epics analysis by Amit Basole - Search on Google for PDF
  5. Raavan(an) | Livemint Article by Sanjukta Sharma -
  6. Raavan(an) | Behindwoods Analysis by Hemadri -
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Download Betting Raja (Racha) Hindi Dubbed Full Movie  Ram Charan, Tamannaah Bhatia, Mukesh Rishi Betting Raja Hindi Dubbed Full Movie Ram Charan, Tamannaah ... Movie betting raja New song2015 Betting Raja full movie in hindi dubbed ram charan - YouTube Betting Raja  Best Scene  Ram Charan  Hindi Dubed Movie

Racha ( Hindi Betting Raja) Telugu Full Movie Betting' Raju (Ram Charan) is a Hyderabad-based happy-go-lucky guy who makes his living by betting. He lives with his adopted parents (M. S. Narayana and Sudha) who support his means of living. Betting' Raj (Ram Charan Teja) is a Hyderabad-based happy-go-lucky guy who makes his living by betting. He lives with his adopted parents (M. S. Narayana and Sudha) who support his means of living. Everything goes on as usual until tragedy strikes the family in the form of his father who is diagnosed with cirrhosis as a result of heavy drinking. Here is a list of Bollywood movies of Ram Charan dubbed from Telugu to Hindi: Racha Hindi dubbed as Betting Raja directed by Sampath Nandi; Magadheera Hindi dubbed as Magadheera directed by Rajamouli; Yevadu Hindi dubbed as Yevadu directed by Vamsi Paidipally; Chirutha Hindi dubbed as Chirutha directed by Puri Jagannadh Betting Raja 2015 DVDRip Hindi Dubbed Movie 600Mb Ft. Ram Charan Mkv Download Link Full Movie 601MB File 01.Indiupload Download Link 02.BDupload Download Link The Story is about 'Betting' Raja who is a Hyderabad-based lucky guy who makes his living by betting. He lives with his adopted parents who support his means of living. ... Latest Hindi Dubbed Movies 2017 _ Latest Ram Charan Movies 2017 _ Telugu Movies in Hindi Dubbed , Hd Movies 2017 & 2018. tv series. 25:40. Hindi Dubbed Comedy Scenes 2017 ...

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Download Betting Raja (Racha) Hindi Dubbed Full Movie Ram Charan, Tamannaah Bhatia, Mukesh Rishi

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