The Burning of Lanka

Plot

The Burning of Lanka depicts the climactic episode from the Hindu epic Ramayana where the demon king Ravana has abducted Sita, wife of Lord Rama, and holds her captive in his island kingdom of Lanka. The film follows Hanuman, the brave monkey god, as he infiltrates Lanka to locate Sita and finds her in the tulasi garden where Ravana frequently comes to intimidate her and demand she marry him. After delivering Rama's message to Sita and allowing her to send back jewelry as proof of his visit, Hanuman allows himself to be captured by Ravana's forces. In a dramatic display of his divine power, Hanuman reveals his true form, sets his tail ablaze using oil-soaked cloth, and leaps across Lanka, burning the entire city to the ground with his fiery tail before returning to Rama with news of Sita's whereabouts. The film culminates with Rama preparing his army of monkeys and bears for the eventual battle to rescue Sita and defeat Ravana.

Historical Background

The Burning of Lanka was created during the British colonial period in India, a time when Indian cinema was in its infancy. The film emerged just six years after the first Indian feature film, Raja Harishchandra (1913), also directed by Phalke. This period saw growing Indian nationalism and a cultural renaissance, with many artists seeking to preserve and celebrate Indian heritage through modern mediums. The film's release during World War I coincided with significant political movements in India, including the Home Rule League's formation. The choice of a Ramayana story was particularly significant, as the epic had become a symbol of Indian cultural identity and resistance to colonial influence. Early Indian cinema faced numerous challenges, including British censorship, lack of infrastructure, and social stigma against acting, particularly for women.

Making Of

The production of The Burning of Lanka was a remarkable achievement given the technological limitations of 1917 India. Dadasaheb Phalke had to import film stock from England and build his own camera equipment. The cast faced numerous challenges, including performing in heavy costumes under the hot Indian sun. For the famous burning scenes, the crew used actual fire with minimal safety precautions. Anna Salunke, who played both Sita and Rama, had to master different mannerisms and body language for each character. The film was processed in makeshift darkrooms, and Phalke often worked through the night to develop the footage. The production team created elaborate sets and props by hand, drawing from traditional Indian art and temple architecture for inspiration.

Visual Style

The cinematography of The Burning of Lanka was remarkable for its time, considering the limitations of equipment available in 1917 India. Phalke used natural lighting to create dramatic effects, particularly in the burning scenes where the flickering firelight created an ominous atmosphere. The camera work included innovative techniques such as close-ups to emphasize emotional moments and wide shots to establish the grand scale of Lanka. The film utilized multiple camera angles, which was advanced for the period, to create visual interest and narrative clarity. The cinematography successfully captured the epic nature of the Ramayana story while working within the technical constraints of silent film era equipment.

Innovations

The Burning of Lanka showcased several technical achievements that were groundbreaking for Indian cinema in 1917. The film featured impressive special effects, particularly in the burning of Lanka sequence, which used practical effects and clever editing techniques. Phalke developed innovative methods for creating the illusion of massive destruction using miniatures and forced perspective photography. The film also demonstrated advanced makeup and costume techniques to transform actors into mythological characters. The use of multiple camera setups and varied shot compositions showed a sophisticated understanding of cinematic language. Perhaps most significantly, the film proved that complex mythological stories could be effectively told through the medium of silent film, requiring visual storytelling techniques that transcended dialogue.

Music

As a silent film, The Burning of Lanka had no recorded soundtrack. However, during theatrical screenings, live musical accompaniment was typically provided. This usually included traditional Indian instruments like harmonium, tabla, and sitar, along with Western instruments like piano or violin. The music would be improvised by musicians to match the on-screen action, with different ragas (musical modes) used to convey different emotions. During the burning scenes, faster-paced music would create tension, while devotional songs would accompany scenes with Sita. The live musical performances were an integral part of the cinematic experience and varied from theater to theater.

Memorable Scenes

• Hanuman setting his tail ablaze and leaping across Lanka, creating a trail of fire that destroys the city
• Hanuman discovering Sita in the tulasi garden and delivering Rama's message
• The dramatic reveal of Hanuman's true divine form to Ravana's court
• Sita refusing Ravana's proposals and maintaining her devotion to Rama
• The final scenes of Lanka burning as Hanuman escapes to return to Rama

What Critics Said

Contemporary critical reception of The Burning of Lanka was overwhelmingly positive, with newspapers and magazines praising Phalke's achievement in bringing Indian mythology to life on screen. Critics particularly noted the film's impressive special effects, especially the burning scenes, which were considered technically advanced for the time. The performances, especially Anna Salunke's dual role, received acclaim for their emotional depth and authenticity. Modern film historians view the film as a masterpiece of early Indian cinema, highlighting its technical innovation and cultural importance. The film is often cited as evidence of Phalke's genius as a filmmaker who could blend artistic vision with technical skill despite limited resources.

What Audiences Thought

The Burning of Lanka was a tremendous commercial success, drawing large crowds across India. Audiences were particularly moved by seeing familiar religious stories depicted on screen for the first time. The film's success was especially notable because it proved that Indian films could compete with imported foreign films for audience attention. Many viewers reportedly had emotional reactions to the film, with some even performing prayers during screenings. The film's popularity extended beyond urban centers to rural areas, where traveling exhibitors would show it using portable projectors. The success of this film encouraged other filmmakers to explore mythological subjects, leading to a boom in religious-themed films throughout the 1920s and 1930s.

You Might Also Like