'Ramayana - Part 1' review: Ranbir Kapoor, Yash shine in Nitesh Tiwari's grand but uneven epic

There is something fascinating about watching Ranbir Kapoor go from playing Ranvijay Singh, the deeply toxic protagonist of 'Animal', to Sri Ram, a character traditionally regarded as the embodiment of virtue. The two roles could hardly be further apart, yet Kapoor makes the transition look surprisingly effortless. If Ranvijay was someone audiences were meant to recoil from, his Ram is someone they are invited to admire. That he manages to make both characters convincing says plenty about his range as an actor.

Directed by Nitesh Tiwari, 'Ramayana: Part 1' is an ambitious attempt to bring one of India's most retold epics to the big screen. The Ramayana has been adapted countless times across cinema, television and even animation. Finding a fresh way to tell a story whose characters and turning points are already deeply familiar to audiences is no easy task. Tiwari, however, appears less interested in reinventing the epic than in making audiences experience its mythical universe on an unprecedented scale.

And the scale is hard to miss. With a reported budget of ₹4,000 crore, the film looks every bit the grand spectacle it sets out to be. Its landscapes, elaborate production design and depiction of devas and asuras create an almost otherworldly atmosphere, as though the earth itself belongs to gods and supernatural beings. Visually, it is a considerable improvement over the much-criticised CGI of Prabhas-starrer 'Adipurush' (2023), even if it does not entirely escape the pitfalls of excessive computer-generated imagery.

One of the more interesting choices Tiwari and co-writer Shridhar Raghavan make is to begin with the asuras rather than follow the familiar route of introducing Rama, Ayodhya and the royal household first. Instead of immediately taking audiences through King Dasharatha's longing for sons, the birth of the four princes and their growing up in Ayodhya, the film first establishes the world of the asuras. Rama's eventual introduction feels almost like an answer to the darkness that has begun to consume the world.

The film's biggest strengths lie in its two central performances. Ranbir Kapoor and Yash give the epic much of its momentum, with the latter making a particularly imposing Ravana. While Yash attracted considerable attention following the film's promotional material, Kapoor is just as compelling in a role that demands restraint. His Rama is composed, dignified and largely understated. Tiwari does not introduce Ravana as a straightforward villain. His confrontation with the devas, his battle involving Lord Deva and Airavata, his penance to obtain divine powers and his devotion to Lord Shiva offer glimpses into the making of the formidable king of Lanka. The film attempts to give Ravana an arc of his own, allowing audiences to understand the ambition and power that precede his eventual downfall. Yash fits the role remarkably well.

Sai Pallavi as Sita is a more mixed bag. She brings a certain gentleness to the character, but the portrayal lacks some of the emotional intensity one would expect from a figure so central to the epic. The sequence in which Ravana abducts Sita in the Pushpaka Vimana, with Jatayu attempting to rescue her before his wings are severed, is a case in point. It is a moment that should carry considerable anguish, fear and helplessness. Yet Sita's reaction feels strangely muted. For a character whose emotional journey is so integral to the story, the performance could have offered much more.

Ravi Dubey's Lakshman, on the other hand, brings some welcome lightness to the proceedings. His interpretation is relatively playful, with an occasional streak of mischief that provides comic relief amid the film's otherwise solemn tone.

The visual effects, backed by DNEG, work well in several sequences, particularly when the film is building its mythical landscapes and larger-than-life settings. However, the consistency is not always maintained. In the second half, some of the CGI-created characters look noticeably artificial and occasionally cartoonish. There is also an odd sense of perfection to the principal characters. Even after intense battles, Rama and Lakshman look remarkably untouched, almost as though they have stepped out of a makeup room rather than a battlefield. The visual polish sometimes comes at the expense of believability.

The much-discussed collaboration between Hans Zimmer and AR Rahman is another significant aspect of the film. The background score has the grandeur and spiritual quality the material demands, often lending weight to scenes that might otherwise feel less affecting. The songs, however, are less memorable and do not leave quite the same impression.

The Ramayana is a story built on love, sacrifice, betrayal, devotion and loss. Yet, despite its elaborate spectacle, the film does not always manage to make these emotions resonate. There are moments when the background score does much of the emotional heavy lifting, while the performances and writing remain comparatively subdued. For audiences familiar with the epic, the emotional impact may come as much from knowing what is unfolding as from what the film itself manages to evoke.

Tiwari clearly wants audiences to be transported into a mythical world, and in that respect, 'Ramayana: Part 1' largely succeeds. Its attention to detail, the scale of its sets and the visual distinction between devas and asuras are impressive. But spectacle alone cannot carry a story that has endured for centuries because of its deeply human emotions.

'Ramayana: Part 1' is an imposing cinematic undertaking, anchored by strong performances from Ranbir Kapoor and Yash. It is visually ambitious, occasionally uneven and not always as emotionally stirring as its source material deserves. The grandeur is undeniable. Whether the film can make audiences feel the weight of the epic as much as they admire its scale is another question.