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Ranbir Kapoor and Yash's Ramayana budget revealed: Both parts cost Rs 4,000 crore; more expensive than Jurassic World Rebirth and Superman

Ranbir Kapoor and Yash's Ramayana budget revealed: Both parts cost Rs 4,000 crore; more expensive than Jurassic World Rebirth and Superman

Indian Express15-07-2025
As the much-anticipated first glimpse of Nitesh Tiwari's Ramayana: Part One continues to trend across social media and dominate online conversations, fans are abuzz with excitement over the film's grand scale and the epic face-off between Ranbir Kapoor's Ram and Yash's Ravan. Amid the growing anticipation, producer Namit Malhotra, who is also the founder and non-executive director of Prime Focus Limited, a leading Indian visual and special effects company, recently spoke with Prakhar Gupta about the budget of the project, the journey behind it, and the vision guiding its creation.
He said, 'So, when we set out to make it, six, seven years ago, just after the pandemic, when we started to really get serious about mounting it and producing it, and budget-wise, it was like everybody thought I'm a lunatic. Because no Indian film, by a long distance, comes close to it. So, to put it simply, it'll be about $500 million by the time we're done, on both films put together, part one and part two, which is over Rs 4,000 crore.'
Despite industry skepticism over the scale of spending, Namit insists the project is both financially responsible and creatively necessary. 'So, I say it like this: we're making the largest film in the world for the greatest story, the greatest epic, that the world should see. And I still think it's cheaper than what it cost to make some of the biggest Hollywood films. So I think we're making a bigger film at a lower cost. Because that Indian in me still believes that we're not being irresponsible financially. We're not being irresponsible with money.' Namit said that the industry might view him as irresponsible, but the investment is justified.
Also Read | Ranbir Kapoor's onscreen mother from Ramayana says he never showed any starry attitude: 'I did Animal with him, he recommended me'
For Namit, Ramayana is a way to honour India's foundational cultural ethos, and to share it with the world. 'I'm taking the greatest belief system of our country. We're taking something that we have pride in. It's a foundational piece of our culture. And I'm going to mount it and present it in the grandest form possible. And it's going to cost whatever it costs. Why is that a risk? When I think about Ramayana, I'm like, is it really a risk? All I'm doing is, I have to just make sure we do justice to people's expectations, and beyond. There has to be pride that must come through, in every Indian first, and then every other person in the world, to say: that's a great piece of culture. I genuinely think the relevance of Ramayana today in the world, not just India, is massive. Look at the wars in the West. Look at the way the countries are operating. I've lived in America. I've lived in the UK. I've hesitated to send my kids abroad to study.'
He also shared his belief that Indian culture and stories like Ramayana offer a much-needed grounding in today's global climate. 'My kids are growing up in Mumbai today. They're going to Indian schools. I want them to study in India. Not because I don't believe in the Western education system, but because I genuinely have greater faith and confidence in India today. And I'm making those decisions. And I'm making that commitment. So I'm like, there's something we're doing right. The West has sort of lost its way a little bit. And nothing like our culture to really help give that grounding and anchor. We're not trying to provide sermons to the world. But what we're saying is: Hey, we've learned a lot from you. Take something from us.'
Director Nitesh Tiwari also echoed this sentiment at the official first glimpse launch earlier this month, expressing that his intention with Ramayana is to evoke pride in India's ancient culture and heritage. Ramayana will be released in two parts, with Part One scheduled for Diwali 2026 and Part Two for Diwali 2027. The film stars Ranbir Kapoor as Lord Ram and Yash as Ravan, with Sai Pallavi playing Sita, Ravi Dubey as Lakshman, and Sunny Deol as Hanuman.
Ramayana: Part One's production budget equals those of films such as Black Panther: Wakanda Forever and Guardians of the Galaxy: Vol 3. It is higher than the $225 that was spent on the new Superman film, and also higher than the $180 million spent on Jurassic World Rebirth.
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Sultana Siddiqui: The Pakistani TV veteran making shows with cross-border appeal
Sultana Siddiqui: The Pakistani TV veteran making shows with cross-border appeal

Scroll.in

time11 minutes ago

  • Scroll.in

Sultana Siddiqui: The Pakistani TV veteran making shows with cross-border appeal

For years, political hostilities between India and Pakistan have disrupted entertainment exchange, but rarely have restrictions been as sweeping as those triggered by the Pahalgam fallout. The latest wave of bans targeted Pakistani shows on YouTube, blocked streaming access to cross-border dramas on Netflix and Amazon Prime, and even temporarily disabled Instagram accounts of Pakistani actors and peace activists. The clampdown came at a time when Pakistani dramas have been enjoying immense popularity across the border, on digital and social media. They have not just built massive fan bases there, but are also engaging with radical themes that, as Indian journalist Raksha Kumar points out, are missing from Indian television dramas, due to 'superfluous' research, lack of courage or financial constraints. One standout example is a three-part mini series that aired last August on the privately owned Hum TV, produced by veteran television pioneer Sultana Siddiqui. Each installment tells a stand-alone story. Each is bound by the shared theme of how far-right radicals terrorise individuals and the communities they inhabit at large and the limitations of the state to give justice or security to the victims. The final episode of Tan Man Neelo Neel (Body and Soul Covered in Bruises), the last in the trilogy, elicited emotion for audiences in both countries. The lead characters attacked by an angry mob were their parents' only children. They were young people whose dreams were cut short. The story ends with a chilling mosaic honouring real-life victims of 'blasphemy' mob violence like Mashal Khan, a university student in Mardan in 2017 and brothers Mughees and Muneeb Butt, in Sialkot in 2010. Mob violence Many others could have been included. The list is long and includes those who were victimised on the pretext of religion even if mob violence wasn't involved. The theme resonates wherever this phenomenon has occurred. Since she launched Hum TV in 2005, Sultana Siddiqui, now in her late 70s, has used the television channel as a platform for storytelling from a progressive bent of mind, offering a nuanced portrayal of Pakistani society through deeply grounded characters. This isn't the first time her storytelling has crossed borders. Zindagi Gulzar Hai (Life is Beautiful) in 2012 was a hit in India. The series shows a picture of Pakistan different from the narrative seen in the Indian context. Its popularity, fueled by social media, created a demand for Pakistani content in the Indian market. Its lead actor Fawad Khan, went on to become a Bollywood heartthrob, but was then banned in India along with other Pakistani artists following the 2016 Uri attack. The Pakistani film Maula Jatt that he stars in was due to be released in India, but that has been stalled too. The release of a Bollywood romance he stars in, Abir Gulaal, is now also in limbo due to renewed hostilities. Countering 'foreign' serials What catalysed Sultana Siddiqui to start Hum TV channel was a desire to create relevant content rooted in Pakistan. 'My son asked, 'Are you sure this will work? Indian channels are dominating ratings.' I told him, 'Give it two days – those ratings won't last',' she recalls. 'I was scared too. But when it happened, the entire atmosphere shifted. Not just in Pakistan, but anywhere Urdu is spoken.' She wanted to counter the dominance of 'foreign' serials, particularly Indian dramas known for their sensationalist aesthetics. 'Those vibrant colored walls, the dramatic music, and women cooking without a single stain on their clothes – it all used to bother me,' she says. The series are part of a long line of Hum TV productions that have challenged social norms, like Udaari (Soaring, on child sexual abuse) and Dar Si Jaati Hai Silah (Silah Gets a Bit Scared, on domestic violence). Speaking to Sapan News at her office in Karachi, Sultana Siddiqui recalled the backlash against Udaari (2016), which state-run regulators branded 'immoral ' and threatened to shut down. 'I asked them, 'What exactly do you gain by doing this?'' she recalled. Their reply? 'You get a lot of publicity'.' Public support But Siddiqui believes it wasn't just the regulators. 'When one of my dramas performs exceptionally well, there are always two kinds of competitors – those who respond positively, and those who don't. I choose to rise above. But some out of sheer spite think, 'It's doing well, so let's bring it down,' and they write complaints.' Udaari received a record number of notices from the Pakistan Electronic Media Regulatory Authority, an indication of how much pushback such socially conscious shows can get. The subject matter, she was told, was too 'bold' to ignore. Her response: 'Look at the end – the rapist was caught and punished. The purpose of Udaari was to show that if you see your child disturbed, talk to them. Because often, it's the nearest person who abuses the child, someone they trust.' What sustained her was support from the public. 'That's where we drew our strength from, to fight the case legally,' Sultana Siddiqui says. 'Sorry, but we are not followers; we create and make others follow.' She admits having to self-censor many aspects of her productions. 'Of course, you can play it safe, but if you're intelligent, you should know what your purpose is.' While Pakistani television channels today enjoy far more freedom than under military regimes, it was Pakistan's last military dictator, General Pervez Musharraf, who in fact allowed private channels to start. 'Back then we mostly adapted novels into dramas, where the mother was the epitome of goodness,' she says. 'They were slow-paced and good in their own right, but their reach and impact were limited. The subjects were limited too – you couldn't tackle issues like child abuse… You couldn't even show a couple holding hands. That's not the case now.' In contrast, films get caught in layers of bureaucracy with those in different regulatory departments 'sending mixed signals – one says yes, the other says no'. The horrific cases of mob violence in Pakistan affected Siddiqui on a personal level, she said, leading her to create the Tan Man series as a response. 'I don't have the energy anymore to keep running around, directing projects,' she admits. 'But I saw something that shattered me. I just hope some change comes from it – something that makes me feel like I've done my part. If nothing else, at least it brings some awareness.' 'When I see things like this, I know it's already time for me to bow out,' she says. 'But before I do, I want to leave behind something meaningful." Alongside Tan Man Neelo Neel, which runs for 11 episodes, the trilogy features Mann Jogi with nine episodes and Nadaan with eight. The latter tackles the controversial practice of ' Halala Nikah ' and exposes how religious doctrine is exploited for personal political gain. The second installment, Nadaan, directed by filmmaker Mehreen Jabbar (Ramchand Pakistani, 2008), examines the scourge of drug addiction. The story shows how drug addicts pose threats to people around them; they resist the opening of rehabilitation centres that might weaken their grip, hiding behind performative piety to deflect scrutiny, and ultimately incite mob violence to protect their influence and preserve the toxic ecosystems they benefit from. Cross-border drama Sultana Siddiqui has always strongly favoured the inclusion of cross-border talent in Pakistani and Indian cultural productions. She has participated in various bilateral conferences and meetings, including those organised by Aman Ki Asha (Hope for Peace), a joint platform initiated in 2010 by the two biggest media groups of India and Pakistan. At the 2018 inaugural Pakistan International Film Festival, which Sultana Siddiqui hosted in Karachi, she invited prominent Indian industry figures as guests, including the team behind the blockbuster film Baahubali. But when she informally asked one of them, a veteran writer, to create content for Pakistani audiences, he politely declined, citing 'grave risks'. Sultana Siddiqui advocates for a more equitable exchange of cultural assets between India and Pakistan. She doesn't mind Indian productions hiring Pakistani writers but 'it should be a two-way street. For every writer they take, we should get one in return – maybe even agree on a percentage.' There are other kinds of risks involved in collaboration that may derail such efforts. There have been cases of storylines from Pakistan being picked up by Indian productions but then, 'things were added according to their own wishes.' State policy has also played its part. In 2016, Pakistan banned Indian dramas on its television channels, after India's unofficial curbs on Pakistani artists. The blackout, she notes, did give a short-term boom to homegrown content, but the real game-changer has been the rise of digital streaming platforms. Not all of Hum TV's projects have been free from critique. The 2019 television series Ehd-e-Wafa, a collaboration with the military's media wing, the Inter-Services Public Relations, drew criticism for glorifying the army and depicting other professions and state institutions unfairly. Earlier ISPR-sponsored shows like Alpha Bravo Charlie (1998) and Sunehre Din (1991) focused on military life without overt political messaging. Asked whether private channels should be subject to such influence, Sultana Siddiqui stresses that collaboration should involve professionals who understand the craft. The conversation with Sultana Siddiqui took place in Urdu and the quotes provided are approximate English translations.

Saiyaara box office Day 8: Mohit Suri film continues strong run, earns Rs 190 crore
Saiyaara box office Day 8: Mohit Suri film continues strong run, earns Rs 190 crore

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Saiyaara box office Day 8: Mohit Suri film continues strong run, earns Rs 190 crore

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Krish Jagarlamudi on 'Hari Hara Veera Mallu' exit; says ‘No Rift' with Pawan Kalyan; ready to work with him again
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Krish Jagarlamudi on 'Hari Hara Veera Mallu' exit; says ‘No Rift' with Pawan Kalyan; ready to work with him again

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