New Delhi:
Digitally remasted 4K version Ramayana: The Legend of Prince RamIn the early 1990s, there is a living evidence of an Indo-Japanese co-production, vision and cunning that Ram Mohan, a doctor of Indian animation film production, was brought to break the power of myths as well as myths. Of geography and time.
A conversion of Indian epic, which was manufactured and co-co-directed by filmmaker and Indofile Yougo Soco to mark the 40th anniversary of establishing a 40th anniversary between India and Japan It is a piece of feature-length animation. ,
Completed in 1992, Ramayana: The Legend of Prince Ram was released worldwide. It was also successfully played at film festivals around the world. Its re -release in Indian multiplexes is an opportunity for the current generation of filmmakers who have been released on Hollywood animation films, which is to taste the wonder of the house on a large scale on the big screen.
The film combines elements of Japanese anime with Indian illustrated styles influenced by the art of Raja Ravi Verma. The complicator of separate visual traditions is most clear in Sita’s figure. There are strokes contained in his imagination, from which Snow White originated, which provokes the eyes for the artistry and expansion of Hayo Miazaki and the aura of a goddess out of a picture, staring at the wall of an Indian living room. The film is a pleasure.
Remarkably with lively colors, the film presents an array of characters that fight against Rajkumar Ram and who he represents. They are from King Sugriva, Vishal and powerful Hanuman and a gentle Angad. In exile, he has missed any important episode of Prince Ram’s years and his war against Ravana.
In the enemy camp, Ravana is surrounded by his shape-shift son Indrajit, invincible Kumbhakarna, younger brother Vibisana, against him, nephew Kumbha and Nikumba and many others, who are against him, who in the war to prevent Sita from saving Sita Take a dip.
Three years after the Mahabharata of the English director Peter Brook, a nine-hour condensed was filmed, a gene-cloud carrier, three-portion of the three-part of the huge script scripted by Ramayana: The Legend of Prince Ram gave the world most Gave more. Fixed screen optimization of an Indian epic.
A dubbed Hindi version of the film was limited to India after five years. After a brief, large -scale attention was not noticed, the 135 -minute animated film, in which Amrishi Puri, Arun Govil, Rail Padmasi and Pearl Padmasi were in their two versions, left the theater radar, though Its screening continued, although its screening continued on television.
The historically important work made by Ram Mohan with Sako and Japanese animation filmmaker Koichi Sasaki (the only living member of the original trio behind the film) used the laborious cell animation to bring the Ramayana alive on the big screen. It is believed that it has been taken more than a decade to complete it.
As we see a sprotted version of the film after 32 years, the quality of animation once attacks us as extraordinary. However, new sounds and subtitles do not live up to the standards set by Ramayana: The Legend of Prince Ram.
Its technical proficiency is of the highest order. The frightening but disinterest usage of the shade, reflection and clearly imagined physical places to illuminate the streaks and frames that lend to the spirit of depth for 2D animation, which stands out in bold relief Is.
The background depicts that the Japanese animators used as the base for the creation of characters and the settings were contributed by Indian filmmakers Nachicate and Jayu Patwordan. The music was composed by Vanraj Bhatia. The score, which clearly stands on the test of time, adds immense value to the film.
Back where it is after a long history of dub, release, distribution deals, festival screening and awards, Ramayana: The Legend of Prince Ram, Geek Pictures, Excel Entertainment and AA Films distributed in India, celebrating more than just one legend Are.
If the main struggle between good and bad is seen in the reference to stories at the present time, the film gains a revisionist edge. This highlights the righteousness, generosity and courage of Prince Ram who goes to 14 years of exile to respect his father’s will and joins the war with Ravana to save his concert, Sita.
But it also brings out the values ​​that made him unaware heroes he was. He fights for what he believes, but he is not a heraldic victoriousism after his victory. His conduct surrounds a clear anti-war attitude in war and at the end of it. When he destroys an evil ruler, he does not leave. He advocates that the soldiers of the fallen enemy be given the last rites.
The warrior tells the army of prince Ram Raja Sugriva and Hanuman, on one side or the other as long as they are alive and fighting. Once dead, they are only humans. We are first human, Kshatriya later, he declares. Sita, also, apologizes to the army that was dragged into a war, which could be avoided.
When you see this pacifying version RamayanaYou also understand the hollowness of military muscle-flexing and divisive wall-construction that indicates contemporary geo-politics. The film does not show a fight between good and evil, which is not as an excuse for the excuse of combative grandeur and all the captivating citizenship.
It projects Prince Ram as a paradigm of virtue as he does not bless with unusual valor, but due to probability, gentle and his fierce commitment to ejaculated principles by his religion. Therefore, as a piece of cinema, it can be one thing from the past, but its message is still equally relevant.
