Ranbir Kapoor To Yash And Sunny Deol; Who Plays What In Nitesh Tiwari's Ramayana
Ramayana Movie Cast: Shooting for Nitesh Tiwari's Ramayana is currently underway. While Ranbir Kapoor has already completed his portions of the film, Yash is now shooting.
Ramayana Movie Cast: Nitesh Tiwari's Ramayana is one of the most awaited movies. It is no secret that the film will be released in two parts in 2026 and 2027, respectively. While the shooting of Ramayana is currently underway, do you know who will play what in this adaptation of the Hindu mythological epic?
Worry not, we have got you covered. Here is the entire list of the Ramayana cast:
NAME OF THE ACTOR ROLE IN RAMAYANA
Ranbir Kapoor Ram
Sai Pallavi Sita
Yash Ravana
Sunny Deol Hanuman
Ravie Dubey Laxman
Kajal Aggarwal Mandodri
Rakul Preet Singh Surpanakha
Lara Dutta Kakeyi
Vivek Oberoi Vidhyutjiva
Arun Govil Dashrath
Kunal Kapoor Lord Indra
Adinath Kothare Bharat
Sheeba Chaddha Manthara
Indira Krishnan Kaushalaya
Before Sai Pallavi, Alia Bhatt was being considered for the role of Sita in Ramayana. However, she backed out of the project due to date-related issues. It was later confirmed that Sai Pallavi will be essaying the role of Sita in the movie.
Shooting for Nitesh Tiwari's Ramayana is currently underway. While Ranbir Kapoor has already completed his portions of the film, Yash is now shooting for his part in Mumbai. Reportedly, the film is being made on a whopping budget of Rs 835 crore.
Just a few days back, it was also revealed that Ranbir and Yash will barely be seen sharing screen space together in Ramayana. According to sources close to the production, 'The makers have chosen to stay true to the original Valmiki text, where Lord Ram and Raavan do not encounter each other through most of the epic. Their worlds remain apart, their stories unfolding in parallel until destiny brings them face-to-face in the climactic battle. As per the original narrative, Ram learns of Raavan's existence only after Sita's abduction, and the two never meet until the battlefield confrontation in Lanka."
Meanwhile, several media reports also suggest that the Central Board of Film Certification (CBFC) has cleared the first promo of Ramayana. The 2-minute-36-second promo has received a 'U' certificate from the Mumbai Regional Office of the board. However, official confirmation regarding this is still awaited.
First Published:
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
30 minutes ago
- Time of India
Myth, monsoon & machines: The Techno-Vedic road to India's sci-fi breakthrough
18 Days, imagined a decade ago as an animated series rooted in comic book storytelling and inspired by mythological epic Mahabharata , was the brainchild of new-age guru Deepak Chopra and his son Gotham Chopra, with investment from Virgin Group founder Richard Branson and creative inputs from film-maker Shekhar Kapur . It never quite took off as it might have, but for readers brought up on the sedate visions of Ramanand Sagar (known for television series Ramayana) and BR Chopra, this version of the Mahabharata— which initially found expression through comic books—was a mind-shattering thrill. It was as if the wheel of samay (time) had suddenly sped up, to collide with the future in furious revolutions. Productivity Tool Zero to Hero in Microsoft Excel: Complete Excel guide By Metla Sudha Sekhar View Program Finance Introduction to Technical Analysis & Candlestick Theory By Dinesh Nagpal View Program Finance Financial Literacy i e Lets Crack the Billionaire Code By CA Rahul Gupta View Program Digital Marketing Digital Marketing Masterclass by Neil Patel By Neil Patel View Program Finance Technical Analysis Demystified- A Complete Guide to Trading By Kunal Patel View Program Productivity Tool Excel Essentials to Expert: Your Complete Guide By Study at home View Program Artificial Intelligence AI For Business Professionals Batch 2 By Ansh Mehra View Program This 'India of science-fiction dreams' was dreamt up by two creators a while ago. Their influence still lingers like the background radiation left over from the Big Bang. With the teaser for upcoming movie Ramayana amassing millions of views on Youtube and creating a buzz over its humongous budget running into thousands of crores, it is time to revisit India's long search for a more futuristic, sci-fi inspired storytelling. The big question—can sci-fi for the world, created in India, come from time-travelling to our past? BACK TO THE FUTURE The last few years have seen a tsunami of epics reimagined as well as adjacent to mythology—there is Disney + Hotstar's animated Ramayana, Kalki 2898, Brahmastra and the unmade Immortal Ashwatthama. Live Events Long before the movies, there were the comics. Comic book fans of a certain vintage will recall the excitement in India in the late nineties. A new wave of comics and graphic novels was upon us. These were not your father's Indrajal or Chacha Chaudhary. In this febrile environment came a thunderbolt of an announcement. A reinvention of the Mahabharata backed by top-notch talent and deep wallets. The press releases from that era are borderline messianic, with Chopra stating that 'we will forge new mythologies bringing together East and West' while Kapur said 'comic book characters—traditional and digital—are the new cult, the new religion. India's 600 million teenagers are now at the forefront of the creation of these new gods, derived directly from the vast ocean of mythology'. Their goal was to replicate what anime/manga had done for Japan in the American market by getting the Yanks to develop a taste for this fusion Indian sensibility. 18 Days was to be the opener of the new way. The writer who would breathe life into this new universe was industry legend Grant Morrison , known for edgy works such as Doom Patrol and Arkham Asylum. He now wanted to work on a 'huge scale, a cosmic scale'. And the artist was a then little-known Mumbaikar Mukesh Singh. He had won a contest by depicting Superman paying homage to Hanuman, which, back then, spread around the Indian internet at the speed of Orkut. After working with Shekhar Kapur on a series, Singh said he wanted to next work on a 'psychedelic Lord of the Rings with Star Wars technology'. Singh's concept art for Morrison's script is filled with colossal war machines, atomic dreadnoughts, high-energy superweapons and mechanoid dinosaurs, among other wonders. They were so striking that Singh says, 'After Grant received the images, he went back and changed (the script). Morrison would say 'all technology should consider embracing some of this retro-Indian-steam punk aesthetic' and coined the term 'Vedicpunk' to describe Singh's approach. This was the beginning of the rise of this highly influential imaginary that can also be called 'techno-Vedic'. A RADICAL LOOK Morrison wanted a clean break with the past, for making this 'mythic poetic realm', and would say 'we should use familiar historical styles and fashions that we associate with traditional depictions of the Mahabharata and then mutate those traditional influences into a much more shiny, reflective, decorative look'. Singh's art marks a sharp departure from Raja Ravi Varma style, whose blending of European and Tanjore art would become so definitive, for both devotional art as well as Indian comics. Indeed the venerable Amar Chitra Katha, with artists like Ram Waeerkar or Dilip Kadam with their deft brushstrokes and poster-like compositions, had already reached a kind of pinnacle of this style. Singh agrees that Varma brought 'realism into mythology' but there was an 'unspoken dissatisfaction' with the portrayal of these characters. He says this grew out of a milieu of an 'aspirational Indian middle-class' as 'I always felt our gods were too distant, they were kept too distant from us'. This was the India of those yeh dil mange more years, wanting to push boundaries, do what hadn't been done before. Singh wanted to bring the energy of a Neal Adams or Frank Frazetta into what was staid and chaste calendar art. SCIENCE FICTION'S TIME LAG While 18 Days was envisaged as the beginning of a cinematic universe with comics, animation and films, it never quite took off. The concept art however went on to live, right-clicked and saved into eternity. And now scraped for AI to train on, it lives forever like a ghost in a cyberpunk machine. The immediate fallout was a host of derivative mythological comics 'inspired' by this techno-cosmic blend hitting the market in that mini-boom of the 2010s. Though Singh and Morrison didn't set out to do so, it perhaps set in motion a process, which would be described by critic Philip Lutgendorf as the 'colonisation of Indian imagination by a new aesthetic hegemon…(that) …glorifies hyperbolic musculature, militaristic machismo, techno-weaponry capable of unleashing apocalyptic violence, and the angst-ridden, usually male characters who wield it'. But science fiction always asks the what if question. Why hasn't (yet), Indian science fiction taken off as a genre of the masses? The golden age of the pulps in the US that catapulted writers like Asimov and Heinlein was born on the tide of rapid industrialisation, scientific progress, and a side-helping of world war. The heroes were usually jut-jawed engineers or pilots, almost always male, who punched the universe till it all made sense. Similarly, the 90s liberalisation that enabled large disposable incomes, the rise of IT and a huge clade of engineers ought to have done the same, with our own unique twist. One only must look at China, where there is no dearth of spectacular imagery or outsized spectacle. What they have is mega-science fiction, but bearing the imprint of the culture which birthed it. In Cixin Liu's Wandering Earth, for instance, giant machines the size of mountains must push earth out of orbit, out of the blast radius of a sun that is about to explode. It is not a lone hero but a high-powered committee armed with the appropriate powers which problem-solves at a solar level. Perhaps India's reluctance to embrace sci-fi lock, stock and barrel stems from India's complicated relationship with it in the first place. Mind you, it had a promising start. Scientist JC Bose's foray into science fiction in 1896 was sparked by a short-story competition sponsored by a hair oil company; his winning entry Runaway Cyclone involved a nifty plan to save Calcutta from the titular weather phenomenon, with an early rendition of the Butterfly effect. Despite this, in general there is a tendency in India to draw upon images of the past for making meaning in the present. Sociologist S Viswanathan puts it more bluntly, 'One of the strange absences in the Indian imagination is sci-fi. Maybe the fecundity of our myths made the sci-fi imagination unnecessary'. But the mutability of epics such as the Ramayana or Mahabharata, which can be recast in any form, is a killer app. This is echoed by Lutgendorf, who says the 'adhbuta rasa', or sense of wonder, is already evoked through the Puranas . On the other hand, according to literary critic Joan Gordon: 'India's very rich tradition begins not with Mary Shelley or Jules Verne… but perhaps with the Ramayana… It has different definitions and aesthetic principles, a different relationship to fantasy…Its science may be Ayurvedic as well as Newtonian..' A FERTILE CLIMATE What next? Climate change could be the next big thing, insinuating itself overtly or covertly into our fiction. Our linear progress, to become the next Shanghai, the next Dubai will also contain the fear of a chaotic unravelling, of a future filled with tensions. This new age–filled with wars, tsunamis and pandemics—is not going to be for beginners. Perhaps the default reflex to make meaning out of all this will not draw from sci-fi or contemporary literature, but once again retreat to the primal legends—an eternal, inexhaustible well from which India has always drawn upon. It also helps that the Puranas and the epics catalogue descriptions of extreme weather events, and the mechanics of the great dissolution or pralaya is quite entertaining, as it involves mega droughts followed by planet-spanning forest fires, refugee movements between the worlds, and colossal flooding. It ideally lends itself to become integrated into climate-change themed fictions in India, replete with striking and memorable imagery. The Puranas mention how the 'world will look famished' after droughts that last for centuries, and then 'rains will start pouring down in streams as thick as the trunk of an elephant', after mass drownings, the 'seven rays of the Sun which had grown fat by drinking this water would become seven separate Suns…these Suns would burn all the three worlds …Then the earth would look like the back of a tortoise'. The shape of the climate crisis also means that India will be subject to these conditions well before the West. In essence, India will turn into a sub-continent sized laboratory of ideas, of survival strategies as well as cautionary tales. Perhaps it can lead to another fusion, of titanic legends from the beginning of time to mega-science at the end of it. (The author is a Hyderabad-based writer)
Indian Express
an hour ago
- Indian Express
How Tyeb Mehta's signature ‘bulls' symbolised ‘the condition of human captivity'
In April, Tyeb Mehta's 1956 oil on canvas Trussed Bull sold for a whopping Rs 61.8 crore. Aptly, it featured a motif that the master modernist constantly returned to, one which captured the very essence of his artistic practice. Personal & political Mehta came of age at a time of social and political churn. While in his early twenties, Mehta witnsessed communal riots during the Partiton which left a deep imprint on the budding artist. 'At the time of Partition, I was living on Mohammed Ali Road (in Mumbai), which was virtually a Muslim ghetto. I remember a young man being slaughtered in the street below my window. The crowd beat him to death and smashed his head with stones,' Mehta recalled in an interview to art critic Nancy Adajania for the monograph Tyeb Mehta: Ideas Images Exchanges (2005). 'I was sick with fever for days afterward, and the image still haunts me today. That violence gave me the clue about the emotion I want to paint. That violence has stuck in my mind,' he had said. The bull became a symbol of human suffering in post-Independent India. 'The trussed bull…seemed representative of the national condition… the mass of humanity unable to channel or direct its tremendous energies,' Mehta told journalist Nikki Ty-Tomkins Seth in another interview for his monograph. 'Perhaps also my own feelings about my early life in a tightly knit, almost oppressive community…At the age of twenty-one, I was living in a void. I had practically no contact with the outside world. Years later in London, working in the most menial of jobs, I was still trying to break out of those shackles, to emancipate myself. Independence for me was personal as well as national,' he had said. The bull first appeared in Mehta's works in the early 1950s, embodying the deep contrast in the animal's innate strength and the cruelty of its captivity. As a student at the Sir JJ School of Art in Mumbai, Mehta would sketch buffaloes and cattle being brought to Kennedy Bridge in Girgaon. Later, he visited a slaughterhouse in Bandra, where he filmed three minutes of his acclaimed 1970 film Koodal. In an interview with Dalmia in 1989, Mehta had said, 'These three minutes are the most poignant sequences in my film…The bull is a powerful animal and when its legs are tied down and thrown down, it's an assault on life itself.' Early on, Mehta painted his bull in thick impasto strokes. After his encounter with the works of American abstractionists like Barnett Newman during his stay in the US in 1968, Mehta began to adopt diagonal lines and colour-field techniques. In the Mahishasura series, the bull appeared as the 'half-bull, half-man' figure of the demon-king Mahishasura, who was slain by Goddess Durga. Several of his later works depicted the bull as a fragmented falling figure. The 1999 acrylic Untitled (Bull on Rickshaw) has a falling trussed bull on a rickshaw (another one of Mehta's favourite motifs) painted against planes of colour. 'The bull mutated and transformed over the years but its simmering force continued to exercise a hold over the image,' Dalmia wrote in a catalogue essay titled 'Metamorphosis', written for an exhibition of Mehta's works she curated for the Vadehra Art Gallery in 2011. Before passing in 2009, his final work, produced in 2005-2007, had two dismembered bulls looking downward. Painted in muted shades, the diptych was expressive of the struggles Mehta had endured through his lifetime. 'Although they are helpless and struggling to sustain, when one looks at the hind parts one notices an energy, ability to fight and endure,' Dalmia told The Indian Express. 'Mehta's life was a struggle that he both fought and triumphed over. He led a full life and was painting till the very end despite his failing health. Though his eyesight had become weak and he had only peripheral vision, he still chose to paint the bull as his last work, perhaps because it deeply expressed what he was feeling even as he was leaving the world.'
Time of India
3 hours ago
- Time of India
'Saiyaara' box office collection Day 23: Ahaan Panday and Aneet Padda starrer sees good growth on fourth weekend; global collections hit Rs 517.5 crore
The Ahaan Panday and Aneet Padda starrer Saiyaara has defied expectations yet again, registering a strong jump in its fourth weekend. After beginning week 4 with an estimated Rs 2 crore on Friday, the film's collections climbed to around Rs 3.35 crore on Saturday, according to early estimates by sacnilk. According to the report, the film's total collections for Day 23 are expected to surge to an estimated Rs 5.09 crore. However, a final report is still awaited. With Sunday yet to be accounted for, trade reports project the 2-day weekend haul is currently at Rs 5.035 crore. Box Office So Far The romantic drama opened to a phenomenal response, earning an estimated Rs 172.75 crore in Week 1, followed by Rs 107.75 crore in Week 2. Week 3 brought in approximately Rs 28.25 crore, reflecting the film's first significant slowdown. The latest numbers take the domestic net collections of 'Saiyaara' to an estimated Rs 314.10 crore, making it the highest-grossing love story in Indian cinema history. Worldwide Collections According to the latest trade estimates, 'Saiyaara' stands to earn an estimated Rs 315.84 crore net in India, with its gross domestic total set around Rs 373 crore (inclusive of GST). by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Undo Overseas markets have contributed approximately Rs 144 crore gross, taking the film's worldwide gross to a staggering Rs 517.5 crore. Competition Ahead Despite stiff competition from 'Mahavatar Narsimha', 'Son of Sardaar 2', and 'Dhadak 2', 'Saiyaara' has maintained steady footfalls. However, the biggest challenge looms ahead with the release of Rajinikanth's 'Coolie' and Hrithik Roshan–Jr NTR's high-octane spy film 'War 2' releasing this Thursday. The film has just four more days to maximise earnings before the heavyweight releases take over. If it sustains its current average of Rs 2 crore per day, Saiyaara could potentially cross the Rs 530 crore global mark. It remains to be seen if the film can muster up enough speed for this final lap, and eventually beat Ranbir Kapoor's 'Sanju', which earned around Rs 541.76 crore gross globally. Director's Take Speaking to IANS about the film's remarkable success, music director Mohit Chauhan said he worked 'with blinkers on' and refused to bow to external pressures. 'Something similar happened during 'Aashiqui 2'. We had ups and downs, but YRF gave me the creative freedom to make music my way. This was the first time they worked with multiple composers and writers, and they trusted my vision completely,' he said. About the Film Saiyaara tells the story of Krish Kapoor, a troubled musician, and Vaani Batra, a shy poet, whose deep bond transforms both their lives.
