Ramayana 2: Why Makers Must Avoid This Biggest Mistake?

Ramayana is not an ordinary story that can be comfortably adapted into one or two feature films. It is an enormous epic filled with emotional relationships, moral conflicts, complex characters and unforgettable moments. Trying to cover its entire journey within two parts could become one of the biggest mistakes of this ambitious adaptation.

The first part ended with Sita Haran. Even Lord Hanuman has not entered the story yet. With the second part scheduled for Diwali 2028, the makers now face a massive storytelling challenge.

The first film already raised questions about the limited attention given to some really important relationships. The bond between Lord Ram and Kaushalya, Lakshman’s relationship with Urmila and Kaikeyi’s transformation under Manthara’s influence deserved greater emotional depth. But these relationships were rushed through.

Now consider how much remains to be covered.

Shabari’s devotion, the alliance with Sugriva, Bali’s death, Hanuman’s introduction, his journey to Lanka, Lanka Dahan, Vibhishana joining Lord Ram, the construction of Ram Setu and the final war are all massive chapters.

There is also Meghanad’s backstory, his defeat of Indra and his rise as Indrajit. Angad’s diplomatic mission to Ravana’s court is another powerful episode that deserves proper treatment.

Can all these events receive enough attention in just one film without turning the narrative into a rushed collection of spectacular sequences?

A trilogy would offer a more natural structure. The second part could focus on Hanuman’s journey and end with Lanka Dahan. The third could cover Vibhishana’s arrival, Ram Setu and the war against Ravana.

There are technical challenges as well. Sunny Deol‘s portrayal of Hanuman will require exceptional visual effects and convincing facial expressions. The character should not look cartoonish like some of the asuras shown in Part 1. A sophisticated performance-capture approach could help make him emotionally believable.

The makers must also decide how to handle Uttar Kand, whose place and interpretation remain debated across different Ramayana traditions.

Of course, a trilogy would require more investment and a longer commitment. But when thousands of crores are being spent on adapting one of India’s greatest epics, storytelling should matter more than finishing everything within a fixed number of films.

Ramayana’s greatness is not limited to its grand battles. Its real strength lies in its emotions, sacrifices, relationships and moral conflicts.

The biggest danger is that the makers might deliver breathtaking visuals while rushing through the very moments that give the epic its soul.

Ramayana deserves more than a spectacular conclusion. It deserves a complete emotional journey.