Paranoia, meet theism. Theism, this is paranoia… your biological father.

Just so there’s no doubt: Anthropomorphic theism is about as natural as tennis rackets, ice cream cones and bikini’s. It is neither automatic nor inevitable. No religion has emerged twice anywhere on the planet, no single deity has been envisaged by two populations separated by time and geography, and not a solitary person in history has arrived independently at Mithraism, Christianity, Islam, Zoroastrianism, Hinduism, Scientology or Judaism without it first being taught to them. That is an inalienable, unarguable truth. Theism (the progeny of far older generations of pantheism, Totemism, paganism, animism and the oldest of them all, ancestor cults) is nothing but the latest imaginative appendage to have grown out from (culturally-centric) superstition; itself nothing but the elaborately dressed-up residue cast off from blunders in causation and correlation.

 

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Paranoia, meet theism. Theism, this is paranoia… your biological father..

Chinta-Mani

· Beera (Abhishekh Bachchan) is a local hero, but a little unlike for the cops of “lal Mathi”. He may take on the persona of Robin Hood for the tribal people around, but that doesn’t take away from the fact that he is, but a criminal. This time around he has the police force in search of him, for kidnapping Raghini (Aishwarya Rai Bachchan) the beautiful wife of SP Dev Pratap Sharma (Vikram), Who believes he’s destined to capture Beera and put an end to the out-law.

The movie begins with, Raavan-esque Beera, standing atop a cliff prepared to jump into a ravine. He plunges into the river and the scene changes to that of a huge boat with Beera onboard, crashing into Raghini’s canoe, bearing reference to the seetaharan episode of the epic Ramayana, (abduction of seeta by Raavan).And just when you begin to think you’re in for a roller coaster ride, you’re welcomed by a certain hollowness; that is the first half of the movie. The cat and mouse chase goes on for what seems like eternity, giving the viewers an illusion of a film.

The second half of the movie, in comparison to the first, carries the story further, and keeps the audience seated. The scenic beauty of the set and the picturesque view of the locations, have you mesmerized. Thanks to our saviours, Santosh Sivan and Samir Chanda. They captured every minute detail and brought it forth with such vigor you cease to notice the frail plot of the movie.  One can say, the cinematography was the strength of the movie and the plot or the absence of it was its weakness.

There is always something fascinating about villains, which is why Beera’s Character comes across as seductive and peculiar. Abhishekh Bachchan however, didn’t play out his full potential. Mrs Bachchan on the other hand, didn’t surprise me; she stood upto the little that was asked of her. Looking pretty. Govinda’s role of Hanuman isn’t glorious. Priyamani performs brilliantly as Beera’s stepsister. Ravi kissen’s role is limited and his potential hasn’t been developed upon. Rahman’s “Beera” played during the opening credits stays with you, but most of his other compositions fail to make a mark. Gulzahar Sahaab’s lyrics seem reasonable with regards to his other great works.

Raavan is a good watch, for those who love to venerate and admire the beauty called – India. And that’s that.