Seite - 48 - in JRFM - Journal Religion Film Media, Band 07/02

48 | Genoveva Castro www.jrfm.eu 2021, 7/2, 31–53 to keep her, he will go to war. Rāma is the exact opposite; he listens to the words of his father and sacrifices himself for the sake of his kingdom. He would never be driven by passion. Ratnam’s adaptation overturns this oppo- sition between the god and the demon entirely, as Bīrā ends up sacrificing himself. The character of Śūrpaṇakhā also plays a major role, since she is strongly related to the episodes concerning Rāvaṇa. It is Śūrpaṇakhā who convinces her brother to take Sītā and kill Rāma. Śūrpaṇakhā can be seen in Vālmīki as the opposite of Sītā in the same way that Rāvaṇa is the opposite of Rāma: there is a clear opposition between Sītā’s modest behavior and the lustful female demon who is also a blood-drinker and even expresses her desire to consume Rāma’s, Lakṣmaṇa’s, and Sītā’s blood.54 Demons lack moderation and reasonable behavior. In Raavan (2010), it is Jamuniyā (Śūrpaṇakhā) who suffers at the hands of the police, who are singled out for lack of moderation and bad behavior – mirroring the social reality of women ending up being the victims of clashes between the police and ādivāsīs. In Sanskrit literature, there are other instances in which the character of Rāvaṇa is seen in a different light. An interesting take is found in the 11th-century poet Bilhaṇa. In one of his most important works, entitled Vikramāṅkadevacarita, he states, “The fact that the fame of the Lord of Lanka [Rāvaṇa] has been reduced, and that the prince of the Raghu family [Rāma] is a receptacle of fame – all this is nothing but the power of the very first poet [Vālmīki]. Kings should not make poets angry.”55 Not only had Bilhaṇa suggested that the good reputation of Rāma rested on the skill of Vālmīki, but he also showed an appreciation for the Rāmāyaṇa’s villain. According to Lawrence McCrea, Rāvaṇa is described as the “sole hero of the three worlds” on several occasions and there are sections of the poem in which the descriptions of Rāvaṇa are significantly more central and extensive than those of Rāma.56 Rāvaṇa is foregrounded in this text and other later poets also chose to cast his character in a different light. One notable example that converges with Ratnam’s film is the already mentioned Tamil Rāmāyaṇa of Kampan. The work is entitled Irāmāvatāram, “The descent of Rāma”. The poet is more compassionate towards the emo- tions of both demons: Rāvaṇa’s love is expressed in detail, as is the pain of 54 Vālmīki III.19.18. 55 McCrea 2010, 506. 56 McCrea 2010, 513–514.