It was on Monday morning, by happenchance, that I learnt about a low-budget, animated film called Mahavatar Narsimha‘s release, with barely any noise or marketing. Upon checking, the reviews online were overwhelmingly positive, to my surprise. I continued to be sceptical. My fears about the film were many, but mainly that it was going to be tacky and shallow. How were they going to drag a film on Prahlada for two hours, where all it would take is two lines of storytelling, devout son of a demon king is tortured by his father for his bhakti, until Lord Vishnu saves him and destroys the demon. But what is the worst that could happen, I also asked myself. The worst possible outcome was that it would be another Adipurush, but were we not immune to such disappointments? As eager filmgoers, we would eventually dust it off and move on, like always. So I decided to take the bait.
I reached theatres in the evening and found people thronging the auditorium where this particular film was playing. Crowds for an animated film, that too on a Monday evening? It was another surprise, but I wasn’t going to get my hopes high yet.
Soon it was show time. The audience settled in and the film began to play. As the asura mother Diti sashayed onto the screen, seducing her husband Kashyapa, in the very first scene, my fears were starting to solidify. What had I signed up for and dragged my kid along too? But in the next minutes, as soon as the rest of the scene and dialogues unfolded, and the screenplay caught up, my fears were allayed. And just like that, without realizing it, in the middle of the theatre I had been lifted off by an unexpected bhakti storm, one that I had not seen coming.
It is now more than 48 hours since I watched the film, and the effect is yet to wear off. I am constantly consuming content about it on the internet, periodically checking its box office performance and playing the song list on loop. What it is about the film, that it refuses to disappear from my mind space?
I am not sure I have all the answers. But I will attempt to decode the phenomenon called Mahavatar Narasimha and try to summarize its success and effects on film goers, in seven points below.
- Unmissable Bhakti-bhava: The film makers had their mind, intellect and hearts in the right place when attempting this yajña (in the director’s own words) They did not see it as a mere cash grab opportunity, by riding on the Sanatana resurgence the country is witnessing. Instead, they see it as a tapas meant to take the lore of our Gods to various corners of the country and the world. In one of the interviews, the director mentions that while kids or global audience not familiar with these tales might initially see the avatar as yet another superhero, and not necessarily with bhakti, their curiosity about these characters will lead them into further research and eventually into devotion. With this kind of bhava, it is clear that this was not just a mere film making attempt on their part, but more of a long-enduring yajña. Action done with the right attitude if nothing else is a sure shot way to success.
- Impeccable research: The film has been years in the making and the quality of the research shows. The filmmakers apparently read up on puranas, familiarized themselves with various folklores and even visited the various Narasimha kshetras across the country to get a comprehensive understanding of the subject they were handling. In fact, it blew my mind when I learnt that in the scene where Lord Narasimha washes blood off his hands in a pond, the flora and fauna we see on screen was made to reflect the actuals plants and creatures that one would get to see in the same kshetra even today. Needless to mention, the immense respect they had for the content they were dealing with, shows on screen as well.
- Hard work and solid filmmaking: While the animation did feel inconsistent and not quite close to international standards at times, it was clearly not due to lack of effort (maybe perhaps due to lack of budget or experience) because every other department excelled. Be it storytelling, screenplay, voice acting, visual effects, music or direction, the film has it all going very strongly for it. The space battles or Bhudevi’s introduction all had exemplary visual appeal (even if some of them seem inspired from non-Indian shows and films) It is clear that the makers did not rely on just the devotion factor to take them across. They have taken their craft very, very seriously and sincerely. Even the Varahavatar, that had less screen time than the main avatar, got its share of spotlight and fantastic action.
- Character portrayals: Except Hiranyakashipu and Hiranyaksha, there was no all-out villain in the film despite the asura clan dominating the scenes. Be it the boys in the gurukula or Guru Shukracharya or even the asuras assigned to kill Prahlada, the characters were all portrayed with nuance and depth. No one was textbook evil. Each person in the asura clan or even Diti and Kashyapa had reasons for doing what they did. The attention to such detailing in characterization was impressive.
- Tears and goosebumps moments galore: Throughout the film, both as a film goer and as a devotee, one gets to experience many such moments. Asuras joining in the bhajan with Prahlada, Lord Narasimha’s eyes suddenly softening and moistening at the sight of his devotee with his rage vanishing, Lord Vishnu cradling little Prahlada on his lap and calling Himself his dasa, the Hiranya brothers’ training scenes or them bringing upon destruction of cities (a clear allusion to the suffering and pain our civilization too underwent in the last millennium at the hands of foreign invaders) or Varahamurthy seeking out and battling Hiranyaksha— so many, many memorable moments stand out.
- Climax: The spectacular climax, backed up by the superb action choreography, music, and the special attention to animation quality (unlike the inconsistency in rest of the film) simply propels the film out of the exosphere, into a different orbit altogether. I am not detailing it out too much, for the fear of spoiling the viewing experience.
- Finally, and most importantly, the Spiritual messaging: On careful observation, it is clear that this is not just another average religious film. The universal messages of unflinching devotion and compassion apart, in the scenes where characters discuss about the imperishable nature of atman or about the nature of ego, the film knows its spiritual subject matter well. Even the much-discussed violent parts are not out of place. In the Hindu pantheon, it is important to understand that not all our Gods are pacifists nor are they all peaceful at all times. While true devotees like Prahalada and Sudama got their share of infinite love from the Lord, characters like Kartavirya Arjuna and Hiranyakashipu too got their grizzly ends from the same Lord. Our dharma always insists that each soul’s journey generates its own karmic consequences and hence there is no once-size fits all in Hinduism. Hence there is no Narasimha Swami or Parashurama without the accompanying rightful violence either. The makers seem to know this and what the rest of the most profound philosophies of Sanatana Dharma are. They manage to competently convey them through film.
Having said that, the film itself is not without its flaws. But the positives are so overwhelmingly in its favor, that the little drawbacks get blown away in comparison. My belief is that like it happened with the Kantara climax, there is a certain inexplicable energy that the film operates in, especially in its climax, which manages to induce a certain response in a large number of viewers as well. Hence the swelling of bhakti in theatres that we see in various clips and grudging applause from a large section of industry and critics, on its success.
All this simply tells us one thing. That there are changes happening in our country, in our collective consciousness as Sanatani-s. This film’s success is proof that the change is growing and is here to stay. Our Gods are rising and roaring, both literally and metaphorically.
Jayatu Sanatan!