Is Adipurush a Reflection of Modern Politics in India?

The Ramayan of 1987 and Adipurush of 2023 reflect significant changes in both cultural and political landscapes of contemporary India. While Ramanand Sagar’s Ramayan was broadcasted by the government channel, Doordarshan, and aimed for public communal harmony, Om Raut and Manoj Muntashir's Adipurush represents a more commercial and politically charged narrative.

Evolution of Ramayan in Media

In 1987, Ramanand Sagar’s Ramayan was a private affair meant for public viewing at homes through Doordarshan, the government channel. It was produced during a period of technological limitation, resulting in a low-scale graphical depiction suitable for television audiences. In contrast, Adipurush, released in 2023, caters to a more affluent audience, requiring them to purchase expensive theater tickets. The evolution of the narrative from a primarily free, public broadcast to a commercial venture reflects changes in media consumption habits and monetization strategies.

Philosophical and Political Themes

The philosophical underpinning of the 1987 Ramayan was Gandhian ideals — a philosophy that celebrates unity and religious tolerance. The 1987 adaptation included the famous Mahatma’s statement: “Raghupati Raghav Raja Ram, Patit Pavan Sita Ram, Eeshwar Allah tero naam, Sabko sangmati de Bhagwan.” This message aimed for communal harmony and peace. In tandem, the 2023 Adipurush stands starkly different, with its narrative steeped in muscular tapori language—such as “Desh ke Gaddaron ko, Goli maaro salon ko.” This shift towards more radical and confrontational themes reflects the socio-political climate under the rule of the Bharatiya Janata Party (BJP). The inauguration of the new Parliament on 28 May, Savarkar’s birthday, indicates a more polarized and politically charged environment, influencing the narrative of the film.

Costumes and Visual Elements

The visual and traditional elements in 1987 Ramayan were designed to authentically represent the ancient Hindu epic. The depiction of Ravan with 10 heads, for instance, clearly followed the traditional imagery of the demon as seen during Dussehra festivities. However, in Adipurush, the depiction of Ravan has undergone a significant transformation. The 10 heads are now suggestive of electron configurations around an atom, and the character's appearance more closely resembles an Islamic figure, complete with an Islamic beard. These changes in visual representation resonate with the broader shifts in cultural and political discourse. While 1987’s Ramayan focused on unifying cultural roots, Adipurush reimagines these roots through a contemporary, politicized lens.

Conclusion

Adipurush, hence, serves as a cultural mirror to a society marked by political polarizations and shifts in communal narratives. From its production for Doordarshan to its commercial release in theaters, the journey of Ramayan in different decades reflects broader changes in Indian society and governance. The evolution of these tales helps us understand not just the cultural richness but also the political influences at play in shaping these narratives.