The release of the Adipurush teaser enraged nearly the entire netizen community. Because of the subpar VFX, character details, and, of course, the politics, it’s become one of the most hated teasers ever released.
I believe we deserve it. We are soo much addicted to historical fiction, VFX, and religious sentiments. The oligarchs have finally figured out that religion is the only proven medium for selling anything to the people of this country. Take a look at the films that have been released so far this year. More than a dozen films based on patriotism, jingoism, historical fiction, and religious adaptations have been released.
Consider the box office hits Brahmastra, RRR, Kashmir Files, and others; the core story elements in all of these films are VFX, religious sentiments, and jingoism. When we allow producers and filmmakers to believe that the audience only wants these types of films, they take it for granted and try to sell anything under the guise of religion and patriotism.
Speaking of Ramayana and Mahabharata, there are hundreds of visual adaptations of both of these timeless epics available in different media. Still, barely a single adaptation exists where the filmmaker tries to find other aspects, such as the racial representation of different tribes of India, cultural diversity, power politics, and the relationship between ‘upper castes’ and marginalized castes, apart from glorifying Ram and his holiness. When we look at the movie adaptations of the Odyssey and the Iliad, we see several versions in which the storyteller attempted to explore anomalies in the Gods and their holiness. We discover Zeus’ flaws and sins in the same way that we do. We can see how Greek gods frequently exploited earthly devotees in the name of sacrifices. We find Zeus’ bastard children, who were later dubbed demigods.
Can we dare to delve into such details in movies or dramas based on Indian mythologies? Many years ago, Peter Brook, an English theatre and film director created “The Mahabharata,” where he attempted to explore characters in a very minimalistic manner. Unfortunately, he faced backlash across the country. Journalists and academics chastised him for adapting Mahabharata characters to Caucasian and African actors. Unsurprisingly, people embraced BR Chopra’s new adaptation of the Mahabharata, which was more visually and technically satisfying but less authentic in terms of story.
The issue with Indian mythological adaptations in movies and dramas is that they are always one-dimensional. It does not allow the viewers to consider alternative viewpoints. Look at Shakespeare’s “Macbeth.” The entire plot’s purpose is to establish Lady Macbeth as the villain. Still, as an audience, you will also find Lady Macbeth’s point of view, allowing you to judge or evaluate whether her actions should be punished or not. However, such openness is not present when viewing Indian mythologies. While retelling the story, the filmmaker overlooks the diversity of opinions and perceptions. For example, in Sri Lanka, Ravana is regarded as a great king who gave his life to protect the country from invaders. Still, we, as Indians, cannot expect that story plot in the Ramayana adaptation. When I say adaptation, one example of how epic characters can be adapted in a modern-day context is Maheswata Devi’s “Draupadi”. How she contextualized the age-old epic story of “Draupadi” with the character “Dopdi Mehjen” is speechless.
Anyway, I’m sure the filmmakers will soon release the original trailer for “Adipurush,” satisfying our fantasies and religious dogmas. But think about it again. Don’t we deserve some fresh perspectives on this timeless saga…?