The film is handsomely shot by cinematographer Chirantan Das who captures Kutch as region of disarming innocence. Sadly there is a sense of surface-level haste, an attitude of let’s-get-it-over-it which prevents Bhavai from being a more weighty work on the subversion of Hindu mythology by radical elements.īarring a weak turn by Aindrita Ray as the on-stage Sita, the performers, specially Pratik Gandhi as the family wastrel(Rajendra Gupta is superb as his despairing father) who turns into Raavan on stage, achieve their leap of faith from rangmanch to reality with remarkable fluency.Abhimanyu Singh as Bhanwar, the lecherous theatre owner and Ankur Bhatia as the resident electrician who moonlighs as Laxman and Ankur Vikal as the onstage Rama are terrific. I wish this remarkably dense idea of the politics of religion and the religion of politics had been explored more keenly by the screenwriters. It is against our tradition, they bellow, before taking the law into their own hands. An outraged village of Ram Leela fixated audiences can’t even contemplate the thought of ‘Raavan’ and ‘Sita’ being together in real life. Writer-director Hardik Gajjar is not always successful in depicting that cultural dichotomy which makes us mistake the real and makebelieve. with an Indian twist, the film focuses on the story of Ram and Leela.
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The way their growing mutual fondness impinges on their on-stage performance, is a delightfully achieved merger of myth and reality that can only obtained in a culture as paradoxical tangled and ambivalent as ours. Full Movie Online,Download Goliyon Ki Rasleela Ram-Leela (2013) Full Movie in. They are two actors in the film named Raja and Rani played by Pratik Gandhi and Aindrita Ray who play Raavan and Sita and grow fond of each other backstage. And never mind if the two people in love are only enacting the parts.Raavan and Sita are not really Raavan and Sita. If there is a quality of timelessness in the growing fondness between ‘Sita’ and ‘Raavan’ (last explored in Mani Ratnam’s Raavan, though in an entirely different context) there is also a headlinish twist in the tangy tale with the sudden invited appearance of radical Hindu elements jumping in to thwart the romance between ‘Raavan’ and ‘Sita’. Set in the bustling drama of a Ram Leela troupe in a village in Gujarat(the last time we entered the heart of a nautanki team it was in Shailendra’s ill-fated classic Teesri Kasam) this is a flamboyant-yet-austere stark-yet-spicy film swirling and dancing in the tides of topicality and temporality. And appealing to the mood of festivity that the Dussehra season awakens in all of us, whether we like it or not. It’s a surprisingly appetizing dish, pleasing to eye and the palate. Like a fulsome wholesome Gujarati thali, Bhavai(earlier entitled Raavan Leela which made a lot more sense) has a lot to offer us.
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