Name: Ramayana
Genre: Epic, Mythological
Released: 2026-11-05
Duration: 3 h 15 min
Rating: 7.6
Cast: Ranbir Kapoor, Yash, Sai Pallavi, Ravie Dubey, Sunny Deol

Kalaburagi

Ramayana

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When Rakshasa emperor Ravana, invincible to all but man, conquers the three worlds, Lord Vishnu descends as noble prince Rama. Bound by his father's vow, Rama enters perilous exile with virtuous Sita and devoted Lakshmana. When Ravana abducts Sita, God in human form rises to fight the greatest war ever.

Accessibility through Audio Description (AD) & Closed Captions (CC) is available for this movie on the 'CineDubs' app.


The Times of India

India Today

The Indian Express

NDTV

News18

Taran Adarsh

Pinkvilla

From Ayodhya to Lanka, fans praised the grand scale of the trailer's visuals

An epic filmed for IMAX

Two Oscar-winning composers team up for one epic score

Hans Zimmer and AR Rahman, together

He practised yoga for two years, meditated with a guru and met scholars to prepare

Ranbir Kapoor's path to Rama

That was Sai Pallavi's prayer as she meditated to play Sita in Ramayana

"Sita maa, you act through me"

DNEG, the studio behind some of Hollywood's biggest visuals, co-produces Ramayana

From an Oscar-winning VFX studio

He said Rama's goodness can only shine if Ravana's evil is just as strong on screen

Yash chose Ravana

Arun Govil, who played Lord Rama on TV, returns to the epic as King Dashratha

Once Rama, now Rama's father

Stunt veterans Guy Norris and Terry Notary lead the action choreography for Ramayana

Hollywood action, an Indian epic

Namit Malhotra texted this after hearing the Hans Zimmer and AR Rahman music

How do you make a grown man cry?

I walked into Ramayana with modest expectations, particularly given its rather unusual promotional campaign. The ambition to position it as a global historical-mythological epic is understandable. However, Indian critics were among the last to watch the film, days after its US premiere. Given how spectacular the film turns out to be, one wonders why the makers chose to withhold it from the very audience whose cultural legacy it celebrates. A rather bizarre decision that inevitably raised questions about the film and its potential.
How do you tell a story as old as time and still make it feel fresh? That is perhaps the biggest challenge facing Ramayana. Ram’s vanvas, Sita’s abduction and the inevitable battle between Ram and Raavan. The story is deeply familiar, leaving little room for surprise.Ramanand Sagar's Ramayan has made such an indelible mark on generations of viewers that creating another adaptation with its own distinct identity is no small feat. Yet, Nitesh Tiwari manages to overcome this very familiarity through his extraordinary cinematic vision. He makes a tale we all know feel engaging, immersive and, remarkably, new. While certain sequences embrace a familiar superhero-versus-evil narrative, the Marvel-esque treatment never feels forced or derivative. Despite its grand, contemporary cinematic approach, the film remains deeply rooted in its Indian ethos, its faith and, above all, its belief in humanity, embodied by its most revered ideal — Ram.
There have been several interpretations and adaptations of Valmiki's Ramayana, but Namit Malhotra and Nitesh Tiwari take the story to an entirely different cinematic scale. The film remains faithful to its source material while delivering a visual experience that stands shoulder to shoulder with the grandest international productions. More importantly, its technical ambition never comes at the expense of its emotional core. Despite its lengthy 3-hour-15-minute Hindi runtime, Ramayana largely holds your attention. The film proudly boasts of having DNEG (Prime Focus Studios) and artists who worked on major Hollywood productions such as Dune and Odyssey on board and rightly so. The quality of their work is evident in every frame. The top-notch visual effects bring to life an expansive, immersive and remarkably detailed world, delivering a level of precision rarely seen in Indian cinema.
The casting, which may have seemed unconventional when first announced, proves to be remarkably well-judged. Ranbir Kapoor is undoubtedly one of the finest actors of our generation, yet the full range of his versatility has often been a subject of debate. Is he at his most compelling when portraying broken, emotionally complex characters, or does he shine brightest as a coming-of-age protagonist?
With Ramayana, however, Ranbir delivers an almost anti-Animal performance, making a compelling case for an entirely different dimension of his talent. Revered as Maryada Purushottam, the ideal man and the ultimate embodiment of righteousness, responsibility and dharma, Ram is a character who demands extraordinary restraint. Ranbir seems to understand this instinctively. He consciously reins in his natural intensity, allowing emotion to surface through measured expressions, subtle gestures and a remarkably controlled performance.
In many ways, this is a far more demanding acting choice than simply playing to the gallery. It requires him to resist the impulse to overwhelm the character with emotion and instead find power in stillness. He does so beautifully. His restraint becomes his greatest strength, allowing him to gradually recede into the character rather than draw attention to the star playing him.
Sai Pallavi brings poise and quiet resilience to Sita. Her strength is never overstated; it comes through in her expressive glances, composure and innate wisdom. Ravi Dubey is equally convincing as Lakshman, capturing the fierce loyalty, sharpness and occasional impulsiveness of Ram's younger brother.
However, it is Yash who makes the strongest impression as Raavan. Where Ranbir's performance is built around restraint, Yash embraces unbridled rage and a larger-than-life presence. His pulsating tandav and deep-seated resentment towards Vishnu and his human avatar make for a compelling counterpoint to Ram's righteousness. His nearly 30-minute opening stretch, along with the climactic confrontation involving the demigod Jatayu, ranks among the film's most striking passages. Both sequences are elevated by spectacular action choreography and Yash's commanding screen presence.
That said, the film is not without its shortcomings. The pacing occasionally slackens in stretches devoid of action, certain costumes and lines of dialogue feel a touch too contemporary, and the lip-sync is noticeably off in the opening portions. These, however, are minor distractions in what is otherwise a spectacular cinematic experience.
A. R. Rahman's music is effective, even if some portions feel a tad generic. Mangal Rang emerges as the most memorable track, while his collaboration with Hans Zimmer gives the background score an especially powerful, cinematic quality. The orchestral soundscape adds considerably to the film's sense of scale.
For those of us who grew up watching Marvel, DC and Hollywood’s grand cinematic spectacles, there is something especially gratifying about finally witnessing an Indian epic brought to life on a comparable scale, without losing its cultural identity. This is not about imitating Hollywood; it is about Indian storytelling confidently embracing a global cinematic canvas. Ultimately, the true test of a film lies in how it makes you feel when you walk out of the theatre. And you walk out of Ramayana with a wide smile, a sense of exhilaration and immense pride in seeing India create something this extraordinary, a spectacle that is unapologetically its own, where audacious ambition is matched by execution.
Ramayana is an immersive, larger-than-life cinematic experience and a landmark moment for Indian cinema — one that deserves to be experienced in IMAX 3D. Bring on Part Two, we say! And don't forget to stay back for the post-credits scene.

Nitesh Tiwari retells the Ramayana with Ranbir Kapoor, Sai Pallavi and Yash on a vast cinematic canvas. The spectacle succeeds through emotional depth and stirring music, despite uneven artificial imagery.
Some stories are so deeply woven into a country's cultural memory that telling them again is probably the easiest part. The real challenge is making people feel them all over again. Nitesh Tiwari's Ramayana takes on that mammoth responsibility. Armed with extraordinary scale, a celebrated ensemble and a story that generations have grown up listening to, the film doesn't just set out to recreate an epic; it attempts to bring India's most enduring tale to life on a canvas that promises to be larger than cinema itself. But does all that spectacle translate into storytelling that moves, mesmerises and stays with you?
Ramayana tells the story of Lord Rama (Ranbir Kapoor), Goddess Sita (Sai Pallavi) and their battle against evil, embodied by the demon king Ravana (Yash). Tiwari retains the spirit of the epic while adapting it for modern audiences. There are moments that stand out for their sheer cinematic brilliance, while others take you right back to the nostalgia of watching Ramayana for the first time, perhaps on television, surrounded by family. And that is an emotion the film understands rather well.

Lord Rama, the human avatar of Lord Vishnu, is born to King Dashrath and Queen Kaushalya. He grows up as the heir to the throne of Ayodhya, learning the art of warfare and mastering weapons under revered gurus. But what truly sets him apart from others, including his three brothers and the many kings of his time, is not his prowess with a bow and arrow. It is his faith in relationships, his love, his respect for others and, above everything else, his unwavering commitment to doing what is right.
Rama is loved, revered and celebrated in Ayodhya. He eventually marries Sita, the daughter of King Janak of Mithila, after winning her hand in a swayamvar. His younger brother Lakshman is his closest companion, almost an extension of himself.

A story of this magnitude demands a visual language that can match its ambition. And this is where Ramayana begins to make a rather compelling case for itself.
Some of its action sequences, particularly those featuring Ranbir Kapoor as Rama battling the demons, are genuinely breathtaking. The scale, the choreography and the sheer imagination behind these sequences make you sit up. These are also the moments when Hans Zimmer's background score elevates the drama to another level. His music doesn't just accompany the action; it gives it a sense of divinity, making the ordinary boundaries of a cinematic battle feel almost insignificant.
Ramayana: Rise of Legend looks breathtaking from the word go. And if there is one thing that becomes immediately apparent, it is where the much-discussed Rs 2,000 crore has gone. The film's scale is not restricted to a few sweeping establishing shots or elaborate battle sequences. It is built into the very fabric of its world. The landscapes, the kingdoms, the architecture, the weapons, the creatures and the celestial realms all come together to create an experience that is quite unlike anything we have seen in Indian cinema.

That said, the film isn't without its shortcomings. Its use of AI-generated imagery is occasionally too obvious, sometimes even distracting. A few creatures, particularly Khar-Dushan and Kumbhkaran, look caricature-like, sticking out in a world that otherwise demands visual authenticity. Mythology offers limitless possibilities for fantasy, but the visual treatment needs to inspire wonder. In a few instances, the imagery feels too artificial to let that sense of awe take over. When a film is aiming for the extraordinary, even a slightly jarring visual can pull you out of its carefully constructed universe.
But these lapses don't entirely take away from what Tiwari and his team have achieved. The film understands that Ramayana isn't simply a story of gods, demons and extraordinary weapons. At its heart, it is a story of human relationships, difficult choices, sacrifice and the price one pays for doing what is right.

One of its most affecting stretches is the separation between Dashrath and Rama. The scenes around Rama's departure from Ayodhya, the helplessness of a father who cannot stop his son from leaving and Dashrath's eventual death bring a degree of emotional weight to the spectacle. It is here that the film finds its heart. For all its grand battles and otherworldly imagery, it is the silent moments that remind you why this story has survived generations.
And then there is the casting, which has perhaps attracted as much attention as the film itself. After months of scrutiny, speculation and criticism surrounding almost every casting announcement, Ranbir Kapoor and Sai Pallavi gradually grow into their characters as you watch them.

Ranbir, initially, does make you wonder whether he will break out of the character at any moment and slip into the familiar mannerisms of Bunny from Yeh Jawaani Hai Deewani. But that impression doesn't last. He finds a certain stillness in Rama, a calmness in his movements and a restraint in his expressions that work beautifully for the character. He doesn't overplay the emotional scenes, nor does he lose his energy when the action demands it. There is a quiet conviction to his portrayal, and that is the most important quality he brings to Rama.

Sai Pallavi, too, makes Sita her own. Their chemistry develops organically, particularly during their journey through the forest. But what makes her performance, and the characterisation itself, particularly interesting is the way Tiwari refuses to reduce Sita to a damsel in distress.
Sita is a healer, a woman of immense strength and, importantly, a warrior in her own right. Even when Ravana abducts her and takes her to Lanka in his divine Pushpak Vimana, she doesn't surrender her dignity or her spirit. Sai is never dolled up to look like an ornamental goddess. There is a simplicity to her appearance that works beautifully, allowing the character's strength to shine through.

But if there is one performance that deserves special mention, it is Ravie Dubey's Lakshman. He is perhaps the brightest light in an already impressive ensemble. Ravie looks remarkably suited to the character and brings together Lakshman's many shades with ease. He is emotional, occasionally dramatic, practical when the situation demands it and fiercely protective of his brother and Sita.
There is a scene in which he tries to explain to Sita why he cannot leave her alone when Rama goes after the golden deer. Ravie's eyes convey a thousand emotions, and the clarity with which he delivers his dialogues is almost as sharp as the sword he carries. He understands that Lakshman's devotion is not just about following Rama everywhere; it comes from a deep emotional attachment and an almost instinctive sense of responsibility. It is a performance that stays with you.

And then there is Yash as Ravana, a casting choice that feels almost impossible to imagine differently once you see him on screen. He brings together the character's anger, frustration, pride and undeniable charm with remarkable ease. There is an imposing quality to his presence, a physicality that makes him look every bit the ruler who can call himself the 'Trilokpati' – the lord of the three worlds.
His eyes do much of the talking, particularly in the scene where he sees Sita for the first time. There is fascination, desire, arrogance and an unsettling sense of entitlement in that gaze. Yash doesn't have to raise his voice or constantly assert his authority to dominate a scene. His presence is enough. Ravana is meant to command fear, fascination and awe in equal measure, and Yash understands that balance rather well. He is powerful, intimidating and, in moments, almost enchanting – exactly the kind of presence this character demands.

At nearly three hours, Ramayana gives you plenty to celebrate, a fair amount to question and enough to look forward to. Some of its visual choices could have been more refined, and the occasional reliance on artificial-looking imagery is difficult to overlook. But the ambition is undeniable, and so is the achievement of creating a cinematic universe that feels this expansive.

The biggest challenge Ramayana faced was that it arrived with expectations unlike those attached to an ordinary film. It had to answer for its casting, its music, its visual effects, its interpretation of characters and, sometimes, even for the audience's own deeply personal relationship with the epic. Almost every promotional reveal invited a debate. But a film, ultimately, deserves to be judged for what it puts on screen, not just for the noise surrounding its making.

And that is where Ramayana finds its footing. It may not get every detail right, but it understands the enormity of the story it is telling. More importantly, it knows that the Ramayana is not just about the triumph of Rama over Ravana. It is about the choices that define Rama, the strength that defines Sita, the devotion that defines Lakshman and the faith that makes millions return to this story, generation after generation.
There is a beautiful line in the Ramcharitmanas: "Siya Ramamaya Sab Jag Jaani, Karahun Pranaam Jori Jug Paani." It speaks of seeing Sita and Rama in all of the creation and bowing to that visual with folded hands.

That is the feeling Tiwari's Ramayana hopes to evoke. Not just the awe of watching a familiar story unfold on an enormous screen, but the joy of finding something familiar in it all over again. And when the music swells, the worlds open up and Rama draws his bow, you realise why some stories are never really over. They are just waiting to be told again.

Can Namit Malhotra, whose clear ownership of this latest cinematic re-telling of Ramayana been a constant talking point, have conjured up just the right version of the beloved epic for this age of Kalyug?

Having been done in by the horror that was Adipurush, anything would have been better. But something about the crescendo of publicity that accompanied every single act of constructing this one, made me wary. Would this also be one of those high-profile projects claiming the big, bigger, biggest mantle which would prove to be a big fat zero?

I’m here to tell you that my fears have largely been unfounded. I took time to submit to the goings-on, on screen, but by the half way mark, I’d been convinced, and settled into the shenanigans of Lankapati Dashanan aka Ravana (Yash) and the fitting responses of Rama (Ranbir Kapoor) and Sita (Sai Pallavi) and Lakshman (Ravi Dubey), as well as the host of colourful characters, most of whom we know as well as our family members.
As advertised, this Ramayana, directed by Nitesh Tiwari, is unapologetically bigger than any other iteration we have seen before. Its cast takes its time to settle into the groove, but once it does, it gets going. The background music is Hans Zimmer- AR Rahman jodi on full throttle, and there’s enough sorcery and thrills and adventure to keep the occasional blandness at bay, and undemanding adults and kids happy.

Condensing a mammoth epic whose cultural, religious influences have continued to shape our society and polity through the ages, was never going to be an easy task, but credit where it’s due, the makers have managed to tell their story without being overwhelmed by it – yes, there’s scale and size of the kind Indian cinema hasn’t seen before, but there’s also the very desi mix of melodrama and emotion, which works for a film like this, which has been created for universal viewing.

As befits a film which the makers wanted to go international with, Part One (Part 2 releases next Diwali, a whole year later) is a mix of many influences: a jumble of Game Of Thrones, Lord Of The Rings, KGF, nodding all the while to the version that most Indians are familiar with, Ramanand Sagar’s TV series, overlaid with the aesthetics of Amar Chitra Katha, as well as, of course, Raja Ravi Varma, without which no Indian epic can be contemplated.
Ranbir, who has always managed to get into the skin of everything he’s played till now, including the animalesque Animal, starts off strangely subdued, but steadies into his role as the Maryada Purushottam. We get momentarily distracted by the fact that his double role as Parashuram comes off more impactful, but it is all too brief: Ranbir finally cuts loose in Aaranya Kaandam, when he is in the forest with Sita and Lakshman — that very ‘Crouching Tiger Hidden Dragon’ sequence in which he leaps across trees and branches, his arrows finding an unerring mark, vanquishing a pair of deadly demons, with a bit of help from his equally agile companions, is a stand-out.

I also took some time to wrap my head around Sai Pallavi’s Sita, her boyfriend blush reminding me of Zendaya’s look, but she is such a good actor that she gets there: watch her as she jousts with Yash’s Ravan, as he calls out Bhikshaaam Dehi, stepping outside the Lakshman Rekha, into his waiting winged chariot. Ravi Dubey as Lakshman is good, too: he’s a good fit for this Ramayana, which needed to be both modern and contemporary without losing its traditional moorings. On that note, we may need to ask why Suparnakha (Rakul Preet Singh) is always togged out in a fetching corset, or would that be a quibble we can ignore?

While we are told that it takes inspiration from all the many Ramayanas there are in the world, with Tulsidas and Valmiki taking centre-stage, the filmmakers also ask us to go back to the source. Which, in my book, is wonderful. As is the careful keeping away from the sort of religious bigotry which could easily have made this film something else other than one of the most thrilling stories, full of kings and queens, good guys and bad guys, to come out of India.
What can be better than hearing more of the softer, gentler Jai Siya Ram, rather than the muscular Jai Shri Ram? Yes, the latter phrase is implicit, but not, thankfully, in our face. I don’t know what the next part brings, but for now, I’m happy that this is the route Namit Malhotra and co chose.

On the surface, its veneer of sophistication is impressively consistent but spectacle frequently overshadows substance in Ramayana. The film's gargantuan scale is the first thing that strikes the audience. It remains, for the most part, the only thing that stands out.

The film surges forward relentlessly on the back of eye-popping technical wizardry, sustained visual flourish and elaborately mounted, CGI-bolstered battle sequences. The surface gloss satiates the senses all right but it wears one down when a surfeit of it leads to monotony and overwhelms the story.   

Director Nitesh Tiwari, also the co-writer with Shridhar Raghavan, is propelled by pure epic ambition. Nothing wrong with that except that it stymies the possibility of the rich textual, philosophical and human granules of the sprawling, sepulchral tale impacting the proceedings strongly enough.    

In the war between good and evil and between compassion and malevolence, Ranbir Kapoor and Yash, one of the producers of the movie, represent the two ethical poles of the epic that the film brings to the big screen complete with flying elephants, galloping rhinos, chariot-drawing wild felines and shape-shifting demons. 

Kapoor, mindful not to let acquired starry vestiges get in the way, does not possess Rama's “lotus eyes” but exudes the controlled fire the role requires. His efforts are never less than earnest. 
Yash, in his first Hindi movie and in guise that he has never donned before, goes all out to embody the destructive and invincible force that Ravana embodies.  

Responding to the demands of the script, the former exudes restraint, the latter opts for excess. The conflicting tones heighten the tale of revenge and resistance, with almost every sequence in the film coming across as self-contained and sealed-in.

That turns Ramayana into more a collation of high-energy vignettes of great import rather than an arranged sequences of narrative dots that, when joined, form a cohesive whole.

The acting is wildly inconsistent. Some cast members, most notably Sai Pallavi as Sita and Ravie Dubey as Lakshman, are acutely aware of the challenge of humanising mythic figures and stay firmly within the ambit of the grand narrative.          

In mounting the clash between the courage of the “ideal man” and the depredations of the arrogant and overarching villain, Ramayana presents a no-holds-barred cinematic rendition of a tale that is known inside out in every home in this country.

Kapoor has more screentime than Yash but Ravana does get his due in sequences that convey his might, including a post-interval duel with Vidyutjihva (Vivek Oberoi) and an aerial duel with Jatayu (voiced by Anupam Kher).

Ramayana, a Rs 4000-crore movie project produced by Namit Malhotra's Prime Focus Studios and Yash's Monster Mind Creations, isn't so much for domestic consumption as for global conquest.

The film's international distribution is in the hands of Sony Pictures Entertainment while its music has been scored by Hans Zimmer (in his first Indian outing) along with AR Rahman. is impressive in terms of its ambition but could have done with imparting greater depth and range to the key characters.

India's answer to The Odyssey has been made with eye on the world. It is with a reason that the film spells out every little plot detail in the broadest possible terms. It sweeps through the narrative landscape with overly breathless methods.  The idea is to facilitate wider and easier comprehension across cultures.

All said and done, there is a great deal in here that is impactful with regard to purpose and power. The two moral extremities at its epic heart are fleshed out in a manner that is aimed at capturing the imagination of the world with a combination of stylistic extravagance and narrative ebullience.

The film does not scrimp one bit on scale and size as it seeks to transport the audience into a world beyond the here and now in terms of both time and space.

Parts of the movie have the power to sweep us off our feet but in the process, it ends up knocking the stuffings out of the core of a tale endowed with astounding depth. The layers go missing. Only the surface skeins stare us in the face.  

All of the film's gloss and glory - a lot of it stems from the VFX, most of it of an unblemished quality, and from the cinematography by Pankaj Kumar and Mahesh Limaye - is buried under tons of opulence for the sake of opulence.

In the bargain, what the film does is take our attention away from what is subliminally and intrinsically important in the Hindu epic.

Every Indian has grown with stories from the Ramayana. So, despite the many versions of the epic that it mentions in a disclaimer upfront, it sticks to just one. On the story front, the film has nothing new to offer.

How it tells the story is of the essence. This big screen adaptation of the Valmiki Ramayana is more expository than interpretative. It stays cocooned in a predetermined domain even as it straddles the entirety of Hindu cosmology.

Rama, an avatar of Vishnu the Protector, is sent to Earth by Brahma the Creator to save the universe from annihilation when Ravana's meditation threatens to send everything into a tailspin.

The inordinately long film - this is only Part 1 of the epic - follows the paragon of dharma all the way to the point where the stage is set for an all-out battle that Rama must wage to rescue his consort from Ravana with some help from Hanuman (Sunny Deol, who is mentioned in the end credits but not seen in this part).

Ramayana is a visual treat all the way. Every frame jumps out of the screen and casts a spell. Sadly, the familiar characters that populate the film feel way too flat and inert.   

Namit Malhotra and Nitesh Tiwari’s ambitious retelling of the Hindu mythological epic Ramayana has finally arrived on the big screen, bringing together an ensemble cast led by Ranbir Kapoor, Sai Pallavi and Yash. Mounted on a grand scale, the film promises a larger-than-life cinematic experience, backed by impressive visual effects and elaborate production design. While it succeeds in creating a visually spectacular world, the storytelling and character portrayals leave room for improvement. At 3 hours and 15 minutes, the film also tests your patience, particularly in its first half. Let’s find out if the film is worth the hype:
Let’s start with the biggest strength of Ramayana – its visuals. The film is visually beautiful and the VFX deserve immense appreciation. The makers have clearly invested heavily in bringing this mythological world to life and several frames are genuinely breathtaking. The scale and visual treatment make it a cinematic experience worth watching on the big screen.

The music and the background score are also among the biggest strengths of Ramayana. The collaboration between AR Rahman and Hans Zimmer works beautifully, adding grandeur, emotion and scale to the film. The background score deserves special appreciation for the way it elevates several important sequences without feeling out of place. Whether it is the intense moments involving Ravana or the emotionally charged portions, the music adds another layer to the storytelling. What makes it even better is that the makers have given the score its due importance instead of treating it as mere background noise. Rahman and Zimmer’s collaboration is undoubtedly one of the film’s most memorable aspects.
The biggest surprise package is Yash as Ravana. He takes away the limelight with his powerful screen presence and commanding performance. Strong, fierce and convincing, Yash brings the right intensity to Dashanan. His scenes are among the most entertaining parts of the film and he delivers exactly the kind of power and impact that audiences would expect from him. Whenever he appears on screen, the film gets a much-needed boost.

Another actor who deserves special mention is Ravi Dubey, who makes his big-screen debut with Ramayana as Lakshman. He is exceptionally good in the role and surprisingly manages to outshine Ranbir Kapoor in several portions. Ravi performs effortlessly, brings a refreshing sense of humour to the character and makes Lakshman instantly likeable. His dialogues and delivery also add to the character’s impact. In fact, audiences cheer for him in theatres. Interestingly, he also seems to have more dialogues than Ranbir Kapoor, who plays Lord Ram in the movie.


Ramayana Movie Review: Ranbir Kapoor, Sai Pallavi Look Weak
Ranbir Kapoor’s portrayal of Lord Ram is a bit disappointment. His performance lacks the impact one would expect from someone playing such an important character. The makers seem to have confused portraying Lord Ram as calm and composed with reducing the volume of his dialogues. In the first half, there are moments when you genuinely have to struggle to hear what Ranbir is saying. A character as significant as Lord Ram deserved a stronger and more commanding presence.

Unfortunately, Sai Pallavi also doesn’t leave much of an impression as Sita either. Her performance feels weak and expressionless, and she has very few dialogues to work with. It only ends up disappointing you deeply, questioning the hype around the grand project.

Ramayana Movie Review: Directorial Shortcomings
The film also suffers from several directorial shortcomings, particularly when it comes to handling some of the most important sequences from the Ramayana. For instance, the entire sequence in which Kaikeyi reminds King Dashrath of the two boons he had promised her feels rushed and incomplete. We barely get to see the moment when she asks him for those two boons. It is a crucial turning point in the epic, but the film fails to give it the emotional weight it deserves.

If you have watched the television show Siya Ke Ram, you would particularly remember how beautifully the show presented this sequence. Unfortunately, the film doesn’t manage to recreate that impact.

The sequence involving Supranakha’s nose being cut is equally disappointing. It is rushed through in a matter of seconds, with hardly any background score or dramatic build-up. What’s more? The film barely shows her nose being cut, making the entire moment feel underwhelming. Such an important incident in the epic deserved much better treatment.

Even Sita’s abduction sequence, one of the most significant turning points in the Ramayana, feels rushed and lacks the emotional depth it deserves. A moment that should have been filled with tension, drama and heartbreak barely gets the build-up required to make an impact. The sequence passes by rather quickly, leaving audiences wanting more from what should have been one of the film’s most powerful moments.

Ramayana Movie Review: Jatayu-Ravana Fight Gives Goosebumps
If there’s one sequence that truly makes you sit up and take notice, it is the Jatayu’s confrontation with Ravana following the abduction of Sita. Undoubtedly the strongest and most impactful portion of Ramayana, this sequence delivers goosebumps. The scale of the confrontation, the visual effects and the emotional weight attached to Jatayu’s courage make it a memorable cinematic moment. The makers get almost everything right here, from the build-up to the execution. The background score further elevates the sequence, making it even more powerful.

It is one of those rare portions where the film manages to strike the perfect balance between spectacle and storytelling. This is precisely the kind of cinematic treatment one expects from an epic like Ramayana.

Ramayana Movie Review: Final Verdict
Ramayana is a mixed bag. It scores high on visuals, VFX and scale, with Yash and Ravi Dubey emerging as its biggest highlights. However, a stretched first half, weak character portrayals and rushed handling of important mythological sequences prevent it from becoming the epic cinematic experience it aspires to be.

The post-interval portions are more engaging. Also, don’t rush out of the theatre once the film ends. There’s a small surprise waiting in the post-credit scene, which offers a glimpse of Sunny Deol as Hanuman.


#JaiShriRam... You haven't witnessed anything as MAGNIFICENT on the #Indian screen before... Scale. Visuals. Emotions. And SOUL – #Ramayana has it all... A truly STUNNING cinematic experience. #RamayanaReview

Does #Ramayana do justice to the timeless epic that holds a special place in the hearts of millions?... The answer is a BIG YES.

Director #NiteshTiwari delivers a cinematic spectacle that celebrates the glory of #Indian culture and the eternal triumph of good over evil... Watertight screenwriting and an engrossing narrative keep you hooked throughout.

You are captivated not merely by the awe-inspiring visuals and monumental scale, but also by the film's soul... That emotional and spiritual connect is what sets #Ramayana apart.

There are several standout sequences that blend visual grandeur with devotion, drama, and deeply moving moments [no spoilers] –
⭐ The sequence between Brahma and Ravana in the beginning, followed by Ravana staking his claim on Lanka.
⭐ The forest fight between Lord Rama and the rakshasas.
⭐ The Sita Swayamvar.
⭐ The deeply emotional pre-interval portion featuring King Dashrath, Kaikeyi, and Lord Rama.
⭐ The action sequence between Ravana and his brother-in-law Vidyutjeev.
⭐ The Shurpanakha episode.
⭐ The Ravana - Jatayu fight on the Pushpaka Vimana.

The songs, composed by #ARRahman, are seamlessly woven into the narrative, complementing the mood and emotional tone of the film.

The background score by #HansZimmer and #ARRahman is terrific... It amplifies the drama, heightens the emotional impact, and lends the narrative a sweeping, larger-than-life quality.

Academy Award-winning visual effects powerhouse #DNEG deserves distinction marks for its phenomenal work... They raise the bar, delivering one of the most breathtaking visual experiences ever witnessed on the #Indian screen.

The action sequences deserve brownie points, too, combining scale, intensity, and spectacle... The production design is equally impressive, creating a world that stands shoulder to shoulder with the best of global cinema. 

#RanbirKapoor delivers a remarkable performance, portraying the character with grace, dignity, and quiet strength... His composed demeanour, expressive eyes, and effortless screen presence lend the character an aura of divinity.

#SaiPallavi brings dignity and strength to her role, while her naturalistic performance lends tenderness and warmth to the emotional moments.

#Yash is in superb form... His imposing screen presence and sheer intensity make him a formidable force, lending the antagonist the larger-than-life stature the character demands.

#RavieDubey is excellent... He brings remarkable conviction and sincerity to the role... His earnest portrayal makes the character both engaging and endearing.

#RakulPreet is first-rate, delivering a performance that is sure to make an impact.

A lot has been said and written about #SunnyDeol's presence in the first part of #Ramayana... I won't reveal anything here – just watch the film!

#ArunGovil is perfectly cast... It's wonderful to see him on the big screen after a gap.

#Shobhana is excellent... #LaraDutta is superb... #VivekOberoi makes his presence felt... #SheebaChadha is effective... #AjinkyaDeo is solid.

⭐ Final word? #Ramayana is not merely a film... IT'S AN EXPERIENCE, a film that makes #India proud... An incredible cinematic achievement that is sure to captivate audiences across the world... Watch it on the largest screen possible!

#NamitMalhotra deserves special appreciation for backing a film that matches international standards in scale, visual grandeur, and technical excellence.


Ramayana: Part 1, starring Ranbir Kapoor, Yash and Sai Pallavi in the lead roles, was released in theatres on November 5, 2026. Directed by Nitesh Tiwari, the film is produced by Namit Malhotra and Yash under the banners of Prime Focus Studios, DNEG and Monster Mind Creations.

If you're planning to watch this epic mythological movie in theatres this week, here's our review to help you decide.

Ramayana: Part 1 follows the parallel journeys of Prince Rama of Ayodhya and Ravana, the powerful emperor of Lanka. While Ravana rises to power through his devotion to Lord Shiva and defeats Kubera, Rama grows into a righteous warrior under the guidance of Sage Vishvamitra. After defeating the demoness Tataka, Rama wins Princess Sita's hand in marriage by lifting Lord Shiva's sacred bow.

As Rama prepares for his coronation, Queen Kaikeyi, influenced by Manthara, demands his exile for fourteen years and the coronation of her son Bharata. Accepting his father's promise, Rama leaves Ayodhya, accompanied by Sita and his brother Lakshmana. During their forest exile, Lakshmana disfigures Ravana's sister Shurpanakha after she attempts to harm Sita. Seeking revenge, she urges Ravana to take Sita away.

Ravana plots with Maricha, who disguises himself as a golden deer to lure Rama away. With Lakshmana also leaving to help Rama, Ravana disguises himself as a sage and takes Sita to Lanka. The noble demigod Jatayu attempts to rescue her but is gravely wounded by Ravana. Before passing away, Jatayu informs Rama about Sita and Ravana's direction of escape.
Overwhelmed by grief, Rama performs Jatayu's final rites and vows to rescue Sita and defeat Ravana, beginning his journey towards Lanka.

What works in Ramayana: Part 1

Ramayana: Part 1 is undoubtedly one of the most ambitious and visually magnificent adaptations of the Indian epic, aided by impressive performances, grand world-building, and spectacular action sequences. The film's visuals, though occasionally sloppy, still stand out as one of the grandest portrayals in recent times, not just among epic adaptations but in Indian cinema as a whole.

One of the film's biggest strengths is its casting, with Yash emerging as a major highlight through his commanding presence as Ravana. Rather than presenting the story as merely a battle between good and evil, the film gives Yash's Ravana a more morally grey characterization. He brings immense screen presence, intensity, and complexity to the character, particularly through his portrayal of Ravana's multiple personas (ten heads), the Tandav sequence, and his transformation from an ambitious figure into someone consumed by pride and power.
Ranbir Kapoor brings dignity and grace to Prince Rama, while Sai Pallavi delivers a graceful and emotionally engaging performance as Sita. The collaboration between AR Rahman and Hans Zimmer adds an epic musical dimension, complementing the film's emotional and dramatic moments.

The film's visual grandeur is equally impressive, particularly in its depiction of Ayodhya and Lanka. The sophisticated visual effects and CGI enhance the mythical world, making the storytelling immersive and spectacular. The confrontation between Ravana and Jatayu stands out as one of the film's most memorable sequences, combining breathtaking action with genuine emotional weight.
The Performances

With Ramayana: Part 1, Yash emerges as the undisputed standout, delivering a magnetic performance as Ravana. He convincingly captures the character's transformation from a devoted scholar of Lord Shiva into an arrogant and formidable ruler, bringing exactly the intensity and menace the role demands.

Sai Pallavi is equally impressive as Sita, bringing elegance and resilience to the character. Her expressive portrayal, particularly during the sequence involving Ravana taking Sita away, provides some of the film's most moving moments.

Ranbir Kapoor brings a calm and dignified presence to Prince Rama, effectively portraying his righteousness and divine serenity. However, his restrained approach may not appeal to everyone expecting a more commanding heroic portrayal. Perhaps more could be expected from him in the sequel.
Ravi Dubey delivers a solid performance as Lakshmana, balancing fierce loyalty, protectiveness, and an impulsive temperament. Arun Govil lends considerable emotional weight to King Dasharatha, while Lara Dutta convincingly portrays Queen Kaikeyi's transformation. Her interaction with Rama is particularly noteworthy.

The Verdict

Despite some minor flaws, Ramayana: Part 1 succeeds as an ambitious mythological spectacle. With its impressive performances, visual brilliance, and grand presentation, the film makes for an engaging cinematic experience.

The epic introduction and the glimpse of what's to come towards the end set the stage for an even bigger sequel. Ramayana: Part 1 is definitely a worthy theatrical watch, even if just for the visuals.

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Disclaimer: The views and opinions expressed in this article are those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.

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