Sri Ramarajyam review by Sreekanth Devarakonda

Sri Rama Rajyam! One of the most awaited movies of the year. This movie garnered tremendous interest from fans and general audience right from its launch due to its unique and atypical combination – one of the biggest mass heroes of Telugu (Nandamuri Balakrishna) playing the role of Lord Rama, an aesthetic director/writer duo (Bapu/Ramana), and a great music director Ilayaraja. Based on the Uttara Kanda of Ramayana epic, this movie is a remake of a blockbuster and classic Lava Kusa released in 1963. Lava Kusa was lapped by audience and until today remains one of the most revered movies ever made in Telugu film industry.

Sri Rama Rajyam is an aesthetic, artistic and brilliant celluloid poetry that should be watched by every Telugu film lover. It is an honest movie that does not deviate from the epic for the sake of commerciality.

The first thing I liked about the movie is the titles card which resembled a wedding card. One side of the card captures the significant occurrences of Ramayana before the commencement of Uttara Kanda (Bala/ Ayodhya/ Aranya/ Kishkindha/ Sundara/ Yuddha Kandas). Interestingly, the first name that appears on the title card is that of Padmavibhushan Dr. Akkineni Nageswara Rao followed by Balayya Babu. Although it is appropriate, I kinda liked it.

Nandamuri Balakrishna
Balayya Babu looks majestic as Lord Rama. His dialog delivery is impeccable and voice modulation was perfect. Telugu lo cheppalante tookam vesinattu chepperu dialogs. His subtle portrayal of emotions is a treat to watch. He resembled his illustrious father NTR in many scenes.

An expression of shock and dismay when he first learns from his spy (Bhadra) about people talking about Seetha being held captive for 10 months in Ravana’s kingdom. Brilliantly performed and equally well captured on screen. Bapu’s signature shot making takes this frame to a different level. The camera captures Balayya Babu’s face and expressions from a profile angle and generates maximum impact.
The following scene where he requests his brothers to absolve him of King responsibilities and finally orders Lakshamana to leave Seetha in the forest.
Scenes where he mourns the loss of his wife.
Interaction scenes with his Lava and Kusa.
Final scenes where he leaves the Rama avatar and becomes Sri Maha Vishnu.

Balayya Babu should be commended for his magnanimity for accepting a script that gives considerable screen time to other characters. Kudos to Balayya Babu for accepting this role and hopefully the accolades and applause will encourage him to pursue diverse genres in the future.

On another note, NTR had a birth mark on his upper back. Balayya Babu also wore a similar identification mark for this movie.

ANR plays the role of Valmiki with panache. Nayana Tara signs off her last movie with a memorable role. She looked like a bride during the swayamvaram episode and matured as a mother of 2 kids. The kids who played the role of Lava and Kusa excelled. Others chipped in with fine and balanced performances.
Telugu film industry should consider itself lucky having a director like Bapu garu in its midst. Each and every frame depicts Telugu culture and nativity. Every scene is aesthetic, lyrical and subtle. Bapu garu tends to use a profile angle and he used it to perfection in this celluloid poetry.

Bapu’s signature shot making is prevalent in the entire movie. He tends to concentrate on the profile angle of the actors – we get to see 3/4th of the face close up capturing the emotions beautifully.
Sage Valmiki explaining about Lord Rama through Evadunnadu ee lokam lo song. The song describes the characteristics of Lord Rama and explains why he is regarded as the epitome of Maryada Purushottamudu.
The picturization of Devulle Mechindi song. The highlight of this song is the portion when swayavaram episode is shot – absolutely brilliant and poetic. Nayana Tara reverently touches the feet of sage Vasistha and gives a quick glance to Balayya Babu, who also peeks at Nayana Tara and closes his eyes. Subtle and delicate sequence synonymous to one and only Bapu garu.
Sage Valmiki explaining to Lava and Kusa about the efficacy of each character of Ramayana and the morals that they represent.
Scenes involving Lord Rama’s interactions with Lava and Kusa.
The flowers that are left at the door step by Seetha reaching the feet of Rama (before Seetha goes away to forest).

Genius writer Ramana garu did an excellent job in his last movie by writing simple, beautiful yet very effective dialogs for this movie.

Seetha seemantham
Hanuman donning the role of kid Balaraju to spend time with Lava and Kusa
The episode where Seetha clarifies her doubts by seeing golden Seetha to accompany Rama for the Aswamedha ceremony.

The above scenes are not part of Ramayanam but the creation of the ingenious legend. The improvisations complemented the story and enriched the beauty beyond imagination. RIP Ramana garu!

Ilayaraja comes with an excellent score and re-recording for this celluloid masterpiece. Devulle Mechinde, Evadunnadu ee lokam lo, Jagadanandha Karaka, Rama Rama ane, Seetha Seemantam and Seeta Rama Charitam songs are excellently composed and mellifluously rendered. Majority of the songs picturized on Lava and Kusa follow the keertana padhati of presentation.

Devulle Mechindi song just swept me off the feet. I have been hearing this song since the release of the audio every day. The song summarizes the events from Rama’s birth until the swayamvaram episode. Especially the last minute of the song is a pure bliss.

Ne needaga saguninka janaki ani
Seethanu vasigey janakudu sriramamurthi ki
Aa sparsa ki alapinche amruta raagame
Ramankita mai hrudayam kaligey seetha key
Sree karam, manoharam, idi veedani Priya bandhamani
Aajana bahudu jatha kudey a vani jatha
Anandha ragamey tanayugrina seetha

Chitra’s soulful rendering of the line “aa sparsa ki alapinche amruta raagame” inadvertently wells up my eyes with tears of devotion each time I hear. Take a bow Chitra garu!

The production values of the movie are excellent. Ayodhya court looked radiant however the graphics for the Valmiki ashram were a letdown. Choreography for some songs could have been better.

Last but not the least, producer Sai Babu should be lauded for his devotion and coming up with a devotional classic without anticipating any monetary returns. He will earn tremendous respect in the industry and amongst movie lovers for this masterpiece.

The movie is very authentic and religiously follows the true happenings instead of deviating from the epic for the sake of commerciality. Even the 3 scenes that were visualized and improvised by Ramana garu complement and enrich the epic.

Tailpiece: I recommend this movie to every Telugu movie lover. I whole heartedly felt the experience of watching a devotional movie. This is not an entertainment movie but a movie that focuses on the separation between Rama & Seetha and birth and childhood of Lava and Kusa. These episodes have been captured in a very poetic and realistic way by an aesthetically affluent director Bapu garu. It is the responsibility of every Telugu movie lover to lap these kind of well made devotional movies that depict our culture and values.

Congratulations to the team of Sri Rama Rajyam. Kudos to Balayya Babu, Bapu garu, Ramana garu, Ilayaraja and producer Sai Babu for bringing to Telugu film lovers a classic to be relished for generations together. Take a bow folks!