In the realm of cinematic narratives, timing is often deemed crucial, as the emergence of a well-suited film at a particular moment can make a significant impact. On May 5, 2023, a film titled The Kerala Story was released, delving into the distressing plight of Hindu girls in Kerala who become victims of a systematic process of abduction orchestrated by Muslim boys, under various pretexts. Subsequently, these girls are trafficked to Afghanistan and are forced into joining terrorist organizations.
Coincidentally, on June 16, 2023, another film titled Adipurush is scheduled to be released, depicting the timeless epic tale of Ramayana through innovative cinematic formats. It is needless to introduce Ramayana to the readers of this review, as it tells the heroic journey of Lord Ram in his relentless pursuit to rescue his beloved wife, Sita, who has been abducted by the nefarious Ravana, leading to a monumental war.
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Positioned amidst these two narrative frameworks, the film Sri Raghupati can be perceptibly situated as a story that connects many dots between the mentioned predecessor and successor in its timeline of release. In fact, the film strongly emphasizes how the epic tale of Ramayana, particularly the character of Ram, serves as a significant source of inspiration for the narrative. “Raghupati is another name for Ramchandra and Ramchandra was destined to defeat the ruler of Lanka. While Ravana was eventually slain, there emerged other forms of evil who embodied his traits” goes a dialogue in the film.
The story of Sri Raghupati progresses in a very linear structure. It introduces us to Pori, who is driven by a genuine dedication and a passion for teaching, as she takes up a position in a village school located in the remote regions of Assam. However, tragedy strikes when Pori is found dead under mysterious circumstances, and the two young school-going girls, who had accompanied her on their way home from school, go missing. In response, Raghupati Rai Baruah, an ACS officer renowned for his integrity and diligence, embarks on a mission to locate and rescue the missing girls. Along the way, he stumbles upon a wide network that is involved in the trafficking of young women and children. This illegal operation is masterminded by Altaf, a notorious criminal figure who leverages his extensive connections to transport the abducted women and children across the border to Bangladesh.
Sri Raghupati offers a captivating blend of suspense and unexpected twists that engage the audience throughout its duration. The first half unfolds at a leisurely pace as the central conflict surrounding Pori’s death takes its time to materialize due to the linear progression of events. Initially, the film presents itself as a delightful family drama, where everything falls into place and everyone is happy and content. It is also accompanied by moments of lighthearted comedy. However, the narrative undergoes a significant shift in tone and momentum with the striking occurrence of Pori’s unfortunate demise.
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From thereon, the film undergoes a dramatic shift as Ravi Sharma, hands over his resignation letter, and takes the matter of investigating the death of Pori into his own hands, unleashing a series of intense action sequences that stands out in Assamese cinema of recent times. The second half exhibits a gritty atmosphere, saturated with crime, violence, and bloodshed. It is also characterized by a loud sound mixing, as the action sequences are amplified to a high decibel level, ensuring their impact is felt thunderously inside the cinema hall.
But the element of suspense in Sri Raghupati could have been enhanced by withholding the revelation of Pori’s fateful incident contrary to the linear and straightforward manner in which it has been told now. Presenting it as a flashback would have allowed for a greater impact to be delivered from the death. Then, the ambiguity surrounding Pori’s fate, coupled with the case of the missing girls, could have added more depth or an additional layer of complexity to the emotional challenges faced by the character of Raghupati.
In this film, actor Ravi Sharma’s prowess extends beyond his physical abilities to include his skilful delivery of dialogues. “If they are storm, then I am fire and fire burns brighter when winds blow”, he says. He stands out as an honest officer and a compassionate individual, dedicated to rescuing the lives of several innocent young girls. He has justified his character, delivering a performance that exudes a heroic aura in every frame. His on-screen presence is captivating, as he flawlessly portrays the required attitude and expressions for the role.
Suvrat Kakoti’s direction in the film is characterized by its vibrant and energetic style, effectively capturing the essence of the protagonist Raghupati. Kakoti skillfully balances the contrasting facets of Sharma’s character. When clad in a formal suit, Raghupati exudes a composed and rational demeanour, preferring negotiations to resolve conflicts. However, when he sheds his shirt, Raghupati transforms into a formidable and aggressive force, ensuring swift and brutal retribution for any wrongdoings. Director Suvrat Kakoti expertly navigates these nuances, by bringing out only the necessary intensity and aggression in each scene.
The action sequences are remarkable, enhanced further by the technical advancements of recent times that have elevated the visual aesthetics of Assamese cinema. This is particularly evident in the climactic scenes, which undoubtedly can be declared as the pinnacle of the film. Ravi Sharma appears to relish his role, particularly in the exhilarating fight sequences, where he shines. However, it is regrettable that Preety Kongana and Priyam Pallabee are given only limited opportunities to showcase their talents in the film.
Actor Raj Sharma delivers a striking performance as Altaf, displaying remarkable boldness and conviction in his portrayal. However, it is veteran actor Arun Nath who adds an unprecedented swagger to his role, leaving a lasting impression. While Ravi Sharma’s performance deserves applause, Arun Nath’s never-seen-before captivating portrayal garners even more admiration, earning him double the applause and appreciation. Siddhartha Sharma’s character is also very interesting in the way that he sucks philosophies out of Bhupan Hazarika’s songs and combines them with mythology.
Although the film is rescued by the performances and technically strong execution, Sri Raghupati, falls short in terms of delivering an inspiring or groundbreaking storyline. It treads familiar territory that has been explored numerous times before. And there are serious shortcomings in the script of the film. Most importantly, the film lacks a personality.
While there are unique character experiments involving Siddhartha Sharma and Arun Nath that are specific to this film, collectively, the film fails to establish a distinct identity. Perhaps it is because the film revolves around its titular character and the portrayal and appearance of the character do not significantly differ from Ravi Sharma’s other recent works. Or maybe the thematic and aesthetic resemblances are stronger which connects Illegal, Black and White and Sri Raghupati together.
However, regardless of the dated storyline, the uneven pacing in the first half, and the almost non-existent role of the female characters, Sri Raghupati successfully fulfills its purpose by providing ample action for fans of the genre, catering exclusively to their preferences. Those anticipating a novel story may be easily disappointed, but those seeking excitement from slow-motion fights and the intense flavour of heroic bloodshed will undoubtedly find enjoyment in it.
After a temporary delay in its release, Sri Raghupati finally made its way to the theatres on June 5, 2023. And according to early buzz, Sri Raghupati has the potential to redefine Ravi Sharma’s career, just like how Ratnakar had elevated Jatin Bora’s and Mission China had transformed Zubeen Garg’s.
When comparing Sri Raghupati with other all-time box office successes from Assam like Ratnakar, Kanchanjangha, and Mission China, viewers might be curious to see where it stands. In terms of self-indulgence, Sri Raghupati is less extravagant and more reasonable than Kanchanjangha or Mission China, while Ratnakar surpasses it in terms of narrative impact and songs. However, Sri Raghupati is more original than Ratnakar dared to be.