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Digital Devils on Set: Reinventing Mythical Villains as “Stunning” Killer Machines in SF Films Robot and Ra-One

Santosh L. Karwande Assistant Professor, Dept. of English MSS Arts Commerce & Science College , Ambad.

The devil, nonexistent as an outside anti-authoritarian force, has become a psychological and aesthetic reality in a very different form. The romantic, the modern, and now postmodern, devils embody the awareness of the futility of human life, and the beauty of decadence. — Wulf Koepke, Nothing but the Dark Side of Ourselves? The Devil and Aesthetic Nihilism

In the film Ra-One , a dream sequence Pratik (Arman Verma), Shekhar’s ten year at the very opening shows Lucifer (Shah old son, is roused from his sleep and we are Rukh Khan, who also plays Shekhar) and told about his quaint “love” for villains Khalnayak (Sanjay Dutt, the villain in his whom he dreamed while he was half asleep earlier film of the same name) engaged in a in the classroom. Again we are told about fierce single combat. Both dominate each Pratik’s attraction for evil characters in a key other alternately. Then, when the situation scene when the family is at their dinner. He grows most precarious, Lucifer releases his says to his father, “Dad, I hate heroes desi girl captivated by Khalnayak . However, because they are boring, new or old. I love none of the fighters appears defeated. One villains, because they are kickass, they are surpasses the other in their respective never defeated. Anybody who comes in their attacks. Finally, the dream fades off when way, just bang. Take my advice, prepare

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) such a videogame in which villain is never satanic beauty when he says that the “devil defeated.” Shekhar, who works in Barron is considered a psychological reality in Industries that manufactures videogames, is different, and mostly very attractive, reluctant to believe that villains are aesthetic forms.” Artifacts of a dark culture unconquerable. He feels that hero always then began appearing more prominent in wins because he symbolizes the victory of recent years in films like Jonatahn Demme’s good over evil. Nonetheless, Shekhar, out of The Silence of the Lambs (1991), Bret his love for Pratik, seriously thinks about his Easton Ellis’ The American Psycho (1991) son’s advice and sets out to program the Thomas Harris’ Hannibal (1999) and Ridley game having a formidable villain. But at the Scott’s Hannibal (2001). same time, like an ideal father, he advises Indeed, there is something him to keep aloof from evil in his psychological in our attraction for horrible characteristic habit of quoting the quotes: and demoniac. We often sympathize with the “Burai sang jo mel rachaya, samzo phir devils on much subtler levels. Milton, too, kabhi na chute uska saya”/ Whoever gets glorified Satan in his great epic Paradise involved in an evil, then can never get rid of Lost and his empathy towards this fallen its shadow. angel is confirmed by William Blake’s Evidently, our fascination for evil, as contention that “Milton was of a devil’s is seen in Pratik’s case, is often nourished party without knowing it.” Even in the from childhood which is strengthened Prophets, this diabolic figure comes to be further by listening and reading stories that known as the greatest of the angels, the involve wicked characters. With the gradual bearer of light (whence the Latin name realization of beauties in evil, many books Lucifer ), who rebelled against God and fell and films began exploring it in their works. from heaven. Ultimately, the picture of Mario Praz devotes a chapter “The Beauty Satan that we get is of a deceiver who, of Medusa” in his The Romantic Agony to according to Matthew Dickerson and David the attraction of the monstrous, as Shelley’s O’Hara, “is supremely unhappy and who poem on that creature praises “the wants others to share his unhappiness ” (77; tempestuous loveliness of terror” (Praz, 26). italics mine). Speaking further about the In somewhat similar way, Wulf Koepke mythic significance of Satan, Dickerson and develops the idea of perversely attractive O’Hara thus underline a struggle between

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) good and evil: Koepke’s notion of decadent beauties in villains provides us a more effective method The mythic significance of Satan is for analyzing the significance of monstrous to underscore that moral strife is no devils because they help to determine and mere question of reasoned ethical harbor essential goodness by the way of inquiry, but a struggle between real juxtaposition. yet invisible forces of good and evil Villains are often ascribed tempting in the war. Evil cannot be a physical faculty so that they may be observed, person; it is always invisible: an understood and enjoyed. Crystal L. O’Leary idea, a belief, a false and demonic recounts an interesting theory by Poe in his voice. An important consequence of this is that it underwrites the virtues “The Imp of the Perverse.” (1845) which is of mercy and forgiveness: if the a key to understand why we are so much forces to be battled are invisible, attracted towards repulsive: “the conviction then it follows ipso facto that visible of the wrong… of an action is often the one people (like all created things) are unconquerable force that impels us, and always redeemable, and never alone impels us, to its prosecution.” (quoted wholly evil. (77) in O’Leary, 239) O’Leary is of the opinion

that, “[the authors depicting monsters], by Evil is invisible and hence it is moving the monster figure to the center of unconquerable. It is an idea and a false the work’s narrative, allow the monster to demonic voice in a human being which can connect with the reader in an intimate be overcome when led by example. Myths fashion and … “reflect the human are such examples which put forward morals experience.” (239) If we take Poe’s theory to before men. As Casey Fredericks points out: its logical conclusion, then, by identifying “All the mythfolk were originally created by with the monster figure, one can learn about and for men; all display the mark of vice by enjoying iniquity – not to practice it humanity, even the monsters.” (2) Basically, – but to overcome it. John C. Lyden records villains act like symbols typifying evil and his experience when he invited his students are the most important components of a to bring in a videotape of a violent film to story. But they are unwittingly undermined share with the class, and to perhaps in our excessive glorification of the good speculate on the effect such violent films and heroic. As I will explore below, Wulf Volume III Issue No.III May- July 2013 Page 3

LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) exert on viewers. To his utter surprise, a young woman student volunteered to show The beauty of evil in the film is so telling them part of The Silence of the Lambs by that Lyden is forced to analyze the film in Demme. This student proceeded to show to his book Film and Religion: Myths, Morals the class the scene in which Anthony and Rituals (2003) Hopkins’s evil character, Hannibal Lecter, In order to support the contention, I escapes from the authorities through a will engage in two independent blockbuster combination of intelligence and brutal Bollywood sf films Robot (2010) and Ra- violence. The scene was so graphic and One (2011) (directed by Shankar and horrifying that Lyden asked her to turn it off. Anubhav Sinha respectively) that feature When asked why she liked that film, she mechanical villains with mythical contours. could not offer an explanation. She also Both these villains are andro- humanoids. failed to say how her enjoyment of such While Chitti in Robot is a corrupted version films could harmonize with her professed who revolts against his master Vasikaran, Christen values. Still Lyden chose to see the Ra-One (Random Access Version One) is a film, to see what the professed attraction to villain in a computer game strongly such films might be. What he further records suggestive of Ravana, the arch villain in is quite relevant here: ancient Indian epic Ramayana . Both these films foster the importance of villains (as the By so doing (watching the film), I titles suggest) and undercut the heroes came to believe not that the movie had Vasikaran and G-One (Good One) for the no effect on viewers other than most parts of the films. Because these entertainment, nor that its effect was particular films can be read as challenging wholly negative. Instead, I speculated the fundamental assumptions inherent in a that the film was functioning as a way hero-centric approach to literary or film for her to deal with her fears and in studies, they provide an alternative and some ways master them, as the entirely unbiased way of understanding the heroine of the film does. I even came to appreciate the film as one that deals evil, as well as a potentially more thorough exceptionally well with the depiction means of transforming it in a real-world of evil and its relationship to all of us. context. Both these films strive to encourage (12) the significance of good as opposed to evil

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) in a roundabout way by moralizing in a evocations of the possibilities inherent in a science fictional idiom. landscape without figures brought lyricism If, however, one has the patience to to a frequently bland-looking genre.” survey the history of this issue in (Bould, 86) Audio-visual sf from the mid Hollywood, Robot and Ra-One have some 1980s to 2000 seems to play with the fears justification in the glorification of the of its audience by portraying monsters of villains. Most of the earlier sf monster colossal strengths. In a way, these films have movies in Hollywood are allegorical cashed in the fascination for uncanny in adaptations by sf authors like Mary Shelley, human beings. James Cameron’s The R.L. Stevenson, Alexei Tolstoy and H.G. Terminator (1984), Terminator 2: Judgment Wells. Like the novel Frankenstein (1818), Day (1991) and Jonathan Mostov’s its movie adaptation also evokes sympathy Terminator 3: Rise of the Machines figure with the monster whose “deformity masks villainous cyborgs like T 101, T 1000 and profound goodness” (Kroeber, 17) Since TX. These machines are not inherently evil, Stevenson’s fable Dr. Jekyll and Mr. Hyde is but are educated into murderousness by concerned with human psychology, it human beings who do not understand the allegorically views the inner monster as worth of human life. As Sarah Connor exotic “other.” Wells’ The Island of Dr. soliloquies in the concluding part of the Moreau initially portrays vivisected animal second movie: “We are marching towards a monsters that fear and worship their creator new future which, perhaps, I am longing for thereby evoking pity. But at the same time, the first time. Since the machine (T 101) paradoxically enough, these monsters evoke understands the value of human life, humans contempt for their creator – the mad scientist will also understand it soon.” In this sense, having animal appetites. Certainly, this Russell Letson’s remark is quite suggestive: mode then proliferated tenuously. In the 1950s, American sf director Jack Arnold’s It The science fictional intelligent Came from Outer Space (1953), Creature machine is more a reflection of from the Black Lagoon (1954), Tarantula human consciousness than a solid (1955), The Incredible Shrinking Man extrapolation; perhaps, until the reality is upon us, metaphor and (1957) and The Space Children (1958) really analogy are all we have to explore sympathized with their monsters. “Arnold’s the nature of MI. This, after all, is

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the problem with any imagined aesthetic significance of the villains in Robot Other, the problem of science and Ra-One , I will first, in some detail, lay fiction aliens who turn out to be out Bollywood practice of handling sf and talking animals or “humour” the way it deals with evil. It is true that characters in monster makeup. Hindi films embrace Hollywood-style (107) elements for specific purposes, but in most

cases, it is not a slavish imitation. Hindi In short, sf uses human sins to cinema “redeploys familiar classical simulate murder and adultery through Hollywood cinematic strategies, yet is novel monstrous mechanical trappings. Michael in the way it marshals its own distinctive Crichton’s Westworld (1973), with its aesthetics and poetics …” (Jyotika, xi-xii) amusement park as the ultimate But it must be admitted that unlike technological seduction, can be cited as the Hollywood sf, its counterpart Bollywood best example of this. However, the supreme films exacerbate by undermining complex illustration of human greed that prompts him ideas at the cost of overload of exotic and to resurrect the pre-historic monsters is comic. It is not having a rich tradition of Crichton’s Jurassic Park (1993). The making sf movies a tool for teaching and dinosaurs, both in the novel and the film, are preaching. There are only five standard sf “the most dangerous villains of the work, yet movies in Bollywood – Mr. (1987), are obviously not human” (Whitlark, 235). Koi Mil Gaya / I met someone (2005), its These monsters hold our attention and sequel / Krishna ( 2009), Robot fascination because they “are not simply (2011) and Ra-One (2012). Some of these fictional, but exist in what philosophers of movies deserve some consideration here modal logic call a ‘possible world’.” from villain’s point of view. (Buckland, 177) With the rise of science and Koi Mil Gaya (directed by Rakesh a related change in worldview, later sf and Roshan) omits a villain and is a slavish non-sf films continue to exploit this formula imitation of a Spielberg sf ET . Mr. India putting forward the beauty of decadent (directed by Shekhar Kapoor) portrays a villains. Consequently, it is a fitting subject memorable villain Mogambo (Amrish Puri). for the exploration of Hindi films Robot and His repeated sentence “Mogambo, khush Ra-One . huva/ Mogambo is very happy, is so popular Before I can fully articulate the inert

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) among juveniles that it has almost become a the focus is on the adventures of the hero myth. However, there is hardly anything in Krishna (Hritik Roshan). this villain that is attractive. He cannot be With Robot and Ra-One only, sympathized from any angle. He is a traitor Bollywood sf attained that perfection India who wants to conquer and enslave India was so striving for. Both these recent films with the help of a formula of invisibility. foster the symbiosis of mythical and ethical (Shekhar Kapoor was a great admirer of (even technical if we consider special H.G. Wells and planned another sf film The effects) by projecting the inherent evil in Time Machine in the 1990s. Unfortunately, humans through their villains. Similarly, the plan could not be worked out at that these two films hearken to evil’s ability to time.) Probably his repulsive wickedness is mould the fantastic effects of moral so impregnable that it itself happens to be a judgments into productive narratives of source of great attraction. In this sense, transcendental empiricism. Robot ’s Mogambo can very well be compared with mythical significance is evident when it another (in)famous Bollywood villain, begins with a title song “O naya insaan, Gabbar Sing of Sholay/Flames (1974) dharati pe aya.”/Oh! We have a new human directed by Ramesh Sippy. Like Mogambo, being on this earth. It strongly connotes that Gabbar Sing (Amjad Khan) is the very the creation of the robot Chitti is like the epitome of villainy. He even goes on to birth of a new Adam in this brave new declare himself as a living myth when he world. The scientist Vasikaran (Rajanikant) tells his men: “Rat ko jab baccha rota hai to is like God who creates him. In fact, Chitti maa use kaheti hai ki so ja beta, varna considers him so when Vasikaran takes it to Gabbar Sing aa jayega.”/when a child cries the robotic conference in order to introduce at night, his mother tells that Gabbar Sing it to the delegates. Some of the delegates ask will come if it does not sleep. In the case of it questions. One question, “Does god both these villains, this repulsive attraction exist?” is answered by Chitti, “If God is the has helped them to be memorable among the creator, Dr.Vasikaran has created me, so yes, Indian masses. Since Krrish is a super hero god exists.” More specifically, Robot , like film per se , its villain, though played by one Ra-One , uses Indian mythical ingredients to of the leading Indian actors Nasiruddin evoke the ‘inbuilt’ (inherent) and ‘installed’ Shah, tends to become less ignominious as evil in human beings. In the first half, Chitti

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) is like a mythical hero Hanuman (Lord Dr. Vasikaran’s name is also Rama’s humble devotee) in Ramayana . He significant from a mythical point of view as serves his master Vasikaran and his beloved it symbolizes ancient yogi or hermit. In Sana (Aishwarya Rai-Bacchan, strongly Hindi, vasikaran means a power, an suggestive of Lord Rama’s wife Seeta) in incantation to have control over others by numerous ways. At one occasion, while bewitching them. It was said to be attained protecting Sana from some ruffians, Chitti by hard labor and sacrifice. In this sense, switches on his magnetic mode attracting Vasikaran is like a rishi (hermit). His metal weapons of the ruffians. It is the time religious worship towards his research in the of celebrating the arrival of goddess Durga lab confirms this. (He does not even waste (destroyer of evil). Chitti’s magnetic body his time in getting his hair cut and refuses to covered with metal objects appears like the meet his beloved Sana who frequents his incarnation of the goddess to some devout lab) Pointing out his long beard and hair, his women who hail its Goddess-like mother also tells him that he exactly looks appearance. Sana is also stunned at Chitti’s like a rishi . He is a devoted scholar and a powers. She tells Vasikaran that he is true patriot who aspires to create andro- amazing like a “superhero.” Through these humanoid soldiers for Indian Army. But instances, the mythical implications of the before that, Chitti must undergo rigorous film become more suggestive. In fact, myths testing through AIRD (Artificial Intelligence are significant tools that help us in shaping Research Development), the head of which our national identities. “Myths show the is Professor Bohra (Danny Denzoppa). world to be charged with meaning, and they Bohra is a real villain who is jealous of convey the weight and wisdom of the ages Vasikaran because his own robot is not as to new generations [and to new countries as effective as Vasikaran’s. (Unlike Chitti who well].” (Dickerson and O’Hara, 105) These reflects Vasikaran, Bohra’s robot appears two films also demonstrate the technique of like a monster reflecting his creator) Bohra interrelating diverse mythologies in order to does not approve Chitti on the ground that it specify morals in an unusual way. Thus, the is devoid of emotions. When Vasikaran films effectively integrate the older myths assures him that he will manage to attribute and provide new insights in reading popular emotions and feelings to Chitti, Bohra says ideas. that it is highly impossible as only God can

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) do so. He calls Chitti a “stupid influence will not charge itself) Chitti’s obsession for engine” in order to irritate Vasikaran. Sana reaches its peak and it appears like a Basically, Bohra is well aware of lunatic lover. Consequently, Vasikaran is fed Vasikaran’s latent genius, hence he instigates up with Chitti and dismantles it in a great Vasikaran to attribute Chitti emotions and rage. Its different parts are then thrown in a feelings so that it may be easily corrupted. Chennai Dumping Yard. By the technique of reverse mapping, This series of contrived events shows Vasikaran is able to give Chitti feelings. how evil gradually enters even a pure and Consequently, in a dramatic situation, Chitti benevolent mind. Chitti’s fall from Adam- falls in love with Sana, Vasikaran’s fiancé. like simplicity to crafty and intriguing entity Henceforth, Chitti poses himself as a almost makes us read the film as a Biblical rival in love for his master and creator myth. However, the final catastrophe occurs Vasikaran. In a key scene, it kisses Sana and when Dr. Bohra recovers Chitti’s different Vasikarn is infuriated at this deed. Vasikaran parts and rebuilds it in his own lab. He reminds Chitti that it is a machine inserts a red chip of destruction program, completely devoid of human traits. Its love which he calls “Bohra’s touch”, thereby for Sana is unnatural and is against the rules. converting Chitti into a monstrous devil. In But Chitti is in no condition to listen to his modern fantasy, we often come across such master. It wants Vasikaran to sacrifice his a struggle between good and evil. This love and allow it to have her. Chitti now classic instance of psychomachy can best be considers Vasikaran as an obstacle in its seen in Terminator 3: The Rise of the way. It begins hating him staunchly. Almost Machines . When TX corrupts T 101’s in a Freudian oedipal sense, Chitti tries to system, the later, though programmed to seek solace by entertaining the possibility of protect John Conner and Katherine putting itself in Vasikaran’s (its father’s) Brewster, attacks both of them. It is about to place and enjoy Sana’s company. Its unruly terminate John Conner when we are shown behavior is also evident when it threatens the dilemma in the machine: and emotionally blackmails Vasikaran “Terminate/abort the task/terminate/abort saying that it will launch a non-cooperation the task” glittering on the screen. But finally, movement in a Gandhian style by T 101 switches off its CPU allowing the undertaking a hunger strike. (It says that it good to overcome the evil. Though Chitti

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) has been cast into a devil, Vasikaran will under the ostensible reason that it has never certainly try to deliver it from sin and been naturally evil, but educated into damnation because, “…no matter how far wickedness. Like Frankenstein’s monster, it the individual has fallen, the wise also hope considers itself as a fallen angel. Karl (and work) for their redemption.” Kroeber sympathetically notes that the (Dickerson and O’Hara, 77) monster in Frankenstein is more sinned From this point onward, Chitti against than sinning: “I am tempted to appears in an entirely new look which is regard him (the monster) as a victim of the more frightful and loathsome. Its “rebirth” myth of the noble savage, for his causes much havoc and so many deaths, autobiography is a conventionalized including Dr. Bohra’s. Chitti builds representation of why the self-consciousness thousands of its own copies as its guards and demanded by advanced society is a blighting soldiers. This satanic train then helps Chitti curse, not a blessing.” (15) In a way, in kidnapping Sana whom it keeps in a huge “culture, intellect, and civilized sensibilities palace. (Bohra’s AIRD building) Like lead to the destruction of his naturally good, mythical Ravana, Chitti’s ultimate objective kindly, pure being and turn him into a is to marry Sana whom it captivates and monster.” (Kroeber, 16) In this sense, most keeps in a great luxury. He even refers Sana of the monsters, in older and modern as Seeta wailing in Ashokvan (Garden in fantasies, are symbolical projections of the Lanka) and waiting earnestly for the arrival epidemic of evil spread by human beings. of Lord Rama. (In Ramayana , Ravana Finally, in a nerve-racking scene, Vasikaran kidnaps Seeta and keeps her in Ashokvan in controls Chitti justifying his name, takes out Lanka. He hopes to marry her by seduction. the red chip (destruction program) and is But Rama attacks Lanka, kills Ravana and reverted to its earlier benevolent being. Due releases his beloved wife from the devil) to Chitti’s destructive acts, Vasikaran is Chitti is so mad in his love that he hopes to asked by the law court to dismantle it. But prepare artificial chromosomes which he Vasikaran refuses to do so and asks Chitti to intends to release in Sana’s womb in order to dismantle itself. Chitti addresses the conceive the first techno-human baby. audience before it is self dismantled. Throughout the second half, Chitti Looking at the photograph of Bohra, it says: tries to justify his wickedness and villainy “Professor Bohra, as you had inserted the

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) red chip of evil in me; many people in the taken a new direction in the hands of a few world are inserting the red chips of talented directors like Shankar, Rakesh deception, hatred, envy and greed in them. Roshan and Aubhav Sinha. More Thank god, I am not a human being; importantly, the fact can be applauded that otherwise I could not have got rid of evil by these directors are popularizing the sf mode dismantling myself.” This is the ultimate on silver screen in India. The seeds sown by message of the film offered so explicitly. Shekhar Kapoor in the 1980s have come to Chitti apologizes Sana for the mental full flowering with Anubhav Sinha’s Ra-One tortures inflicted by it. More than anything – a significant film to discuss alongside else, it begs pardon of his master Vasikaran. Robot because its implications are even Like the mythical villain Ravana, Chitti more varied; therefore, it complicates the seeks comfort by thinking that it is delivered concept of heroic villain to an even more from sin and damnation by his lord Rama radical degree. (Vasikaran), representative of good and The already-mentioned dream noble causes. sequence at the very outset in Ra-One Director Shankar’s Robot is a fine portrays two villains– Lucifer and specimen of extrapolated thinking machines Khalnayak . Lucifer pays homage to which can turn into monstrous villains and Khalnayak when he says, “Woh akela hi tha go awry. Like all Western robot stories, this jo muzse ladane ke layak tha, nayak nahi, story also plays with the fears of its khalnayak”/ He was the only one capable of audiences through a series of nerve-racking fighting with me, he was not a hero, he was events. Similarly, it is noteworthy for its a villain. The background song “nayak nahi, exceptional special effects which add khalnayak hu mai”/I am not a hero, I am a grandeur to it. Of all Bollywood/Tollywood villain, is heard as khalnayak (Sanjay Dutt) (South Indian) directors, Shankar is well- enters the scene. He ridicules the known for the special effects in his films. superheroes and challenges Lucifer to fight His earlier film Nayak /Hero (2002) has by saying that he has lately killed Spiderman amply proved this. (Today, boasts a with the spider-repellant ‘Bay-Gone’ spray number of special effects studios like and asks him insolently what type of a bug Pixeon, EyeQube, Reliance Media Works is he. This humorous scene, as well as and Prana.) In a way, Bollywood film has Pratik’s argument demonstrating the

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) superiority of villains, set the tone of the prepared with a “horrible thought” in order film. Shekhar’s echoing of Pratik’s sentence, to make it invincible. “Villain kabhi nahi harta/villain is never When the outward form of Ra-One is defeated, makes him visit Pratik’s room fully constructed, Shekhar’s team begins to which is replete with the pictures of “bad” install the program in it. As can be seen on mythical villains. Like an epiphany, Shekhar the board, Ra-One, like a mythical devil, is comes to realize the meaning of Pratik’s attributed Seven Deadly Sins as its traits. paradoxical statement. He realizes that it While checking the program, Shekhar finds means villains never die as thay are reborn that the simulation of Ra-One can smile in each age with different faces. (This although the smile has not been included in realization, however, is implied and never its artificial intelligence. Hence, the team clearly stated in the film) The very next day, concludes that the program, like Asimov’s Shekhar declares his plan of preparing a bicentennial robot, is evolving on itself and videogame that involves a villainous learning the things on its own. Similarly, it is monster for Barron Industries. It is here only polymimetic like the cyborgs in Terminator that we come to know why monstrous which could take any form. While villains are so important. Like some conceiving this “modern devil”, extensive Dionysian revel, the monster tends to care has been taken by the team members to become the fascination of abomination. On make it resemble with the mythical Ravan. Jungian line, the monsters in literature and (Even Ra-One in the film is called as the films are the archetypes, structures of a combination of ten devils justifying his mythos or motifs, and often “the monster is name Dashavatar in the epic) As the ancient the enemy only in Pogo’s sense, and epic Ramayana records, Ravan was mayavi he/she/it is always us…” (Spinks, 98) – that is polymimetic. He could take any Shekhar also realizes this symbolic form in order to carry out his evil intentions. significance of mythical villains in human This is how Ravan kidnaps Seeta by taking life. Accordingly, the villain prepared by the form of a Bhikshu (beggar) and asks his them is named as Ra-One, which reads like follower Marich to take the form of a golden Ravan, the monster-villain in the ancient stag in order to lure Seeta. This mythical Indian epic Ramayana . In one important requirement is supplanted by the modern scene, Shekhar tells Pratik that Ra-One is technology devised by Barron Industries

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) which is explained in detail by Jenny Jenny calls it, will play the role virtually to (Shahana Goswami) in the very opening of bring home to us the real (and not hyperreal) the film. Baron Industries boasts this nature of evil through its many impetuous technology that obliterates the distance enterprises in the game. This videogame between the real and the hyperreal. It is consists of two characters – the hero called claimed that this technology enables one not as G-One (Good One), which reads like only to see the simulation of a digital data, Jivan meaning life and vitality in Hindi, and but also to touch it. As Jenny puts it, “This is the villain Ra-One. Both of them have a not like any magic, projection or 3-D HART (Hertz Amplifying Resonance technology…This technology could be the Transmitter). This blue colored apparatus invention of this century that could plays a crucial role in the game because obliterate the distance between the real and none of the two characters can be killed the virtual world.” Intelligibly, then, science without it. Even it is useless to destroy it. fiction “serves the functions of a modern Likewise, it is also useless to destroy their mythology.” (Bova, 11) bodies. It is a source of great power for both Since postmodern ideologies view of them. On winning at each level, the everything as dead and risen in advance, the power of HART is increased and it becomes reinvention of Ravan, in this sense, accounts bluer. Either of the two can be killed only for the loss of the real and the referential when this apparatus is attached with their which could have produced even more bodies. They can be killed only at level three staunch results otherwise. In effect, now we where they will get an anti-HART gun must be content with what Jean Baudrillard consisting of only one bullet. Whoever calls “myths of origin and signs of reality… shoots first at the target is able to kill the [a] second-hand truth, objectivity and other. In short, HART is both a source of authenticity” (405). Since the real is no power and weakness for Ra-One and G-One. longer what it used to be, or marred by In the game’s modus operandi also, Ra-One cultural transgressions, “[t]here is an resembles with the mythical Ravan who was escalation of the true, of the lived blessed by Lord Shiva by giving him a small experience; a resurrection of the bottle of Amrit (food of God which was figurative…” (Baudrillard, 405). supposed to bestow immortality upon the Metaphorically, this “modern Ravan”, as mortals) which was attached near his navel.

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However, Ravan was warned by Lord Shiva when the devil comes out and touches that he could be killed by hitting at this Akashi in order to take his form. It brutally bottle by the spear of a noble person if he kills Akashi and rattles Shekhar who runs misuses this boon for evil purposes. When from the scene in great haste. Ra-One blocks Ravan’s pride actually led him to neglect his way and asks him who Lucifer is. Lord Shiva’s warning, Lord Rama, an Shekhar, in order to save his son, falsely incarnation of Vishnu, waged a war against tells it that he himself is Lucifer. Ra-One the devil, hit the spear near his navel and kills Shekhar and resumes his quest for killed him. However, before his death, Lucifer in the guise of Akashi. This monster Ravan seeks solace by thinking that he has even kills Akashi’s mother brutally. Only been delivered by incurring his death Pratik is aware of the fact that his father did through the hands of Lord Vishnu’s not die of an accident, but is killed by the incarnation. virtual monster Ra-One. Soon Ra-One The devil Ra-One shows its true comes to know that Lucifer is none other colors right after the game is launched. than Pratik, Shekhar’s son. The devil, still in Pratik insists on playing the game. Akashi the guise of Akashi, then follows Pratik in (Tom Wu), one of the technicians of Barron order to kill him and finish the game. Industries, takes him to play the game. As G-One, who is given Shekhar’s usual, Pratik starts playing the game under appearance by the team, is also made to the name Lucifer, but he has to leave the come out in the real world. Since G-One is game in the middle. Ra-One, which is now programmed to fight with Ra-One, it fully matured in its villainy, cannot endure defends Pratik and his mother Soniya Pratik’s sudden leave off. It threatens Pratik (Kareena Kapoor) from Ra-One’s attack to have his vengeance for this insolence by when they are on their way to London Air coming out in Pratik’s world. But the child Port. G-One is taken to Mumbai by Soniya fails to understand this and leaves anyway. so that it can protect the family from Ra- However, Akashi realizes the grim reality One. Meanwhile, Ra-One goes to Barron and informs Shekhar to check the program. Industries where it seduces Mr. Barron The monster is heard saying, “No body can (Dilip Tahil) in order to know Lucifer’s defeat Ra-One” and inscribes the line whereabouts. When Ra-One comes to know “Lucifer must die” on the monitor. Exactly that Lucifer is at Mumbai, it changes its

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) appearance and takes the form of a model specific purpose: to connect the displayed on an advertising billboard. This physical, the known, with the new Ra-One (Arjun Rampal) then takes a abstract, the spiritual, the flight for Mumbai and reaches there exactly unknown. To conceive there is a pattern that tells us how one on the day of Dashahara (Religious festival should live and why one should in India celebrated to remember the death of live in that manner presupposes mythical Ravan). that a pattern exists. Since we It is interesting to note that the do not have that pattern in Hindus celebrate this festival by burning the concrete form yet we know it statue of Ravan on this particular day. When does exist, it must exist as an Ra-One beholds this scene, it asks some abstraction. Whether you choose local boys about it. When they tell him that religion or science as the source, Ravan is being burnt, Ra-One smiles and our intuition tells us it exists, tells them, “You burn Ravan each year and it is only through human because you know that he never does intuition that we can know it. (13) actually die. You don’t need to kill those who are already dead.” It is here only that In itself, Pratik’s love for monstrous we come to know about Shekhar’s villains is also an image in the film which realization of Pratik’s paradoxical statement stands for our psychological fears of the that the villain is never defeated. In this key unknown. (Even Pratik can also be scene, Ra-One is shown walking forward considered as a symbol because the Hindi and at its back, we can see the statue of word ‘Pratik’ means symbol) More Ravan with ten heads in flames. This scene importantly, Ra-One’s coming out in the real is an effective symbol which typifies the world through the fantastic/scientific trope is death of evil and its rebirth. Such mythic the manifestation of such nightmares patterns function as designs to help us helping us to cope up with them. This is how understand the real nature of evil in order to the film functions as a mean of transforming lead a meaningful life. As William K. Ferrell our irrational fears in a real-world context puts it: and helps us to withstand the psychic and

projective currents of our lives. In this sense, Fundamentally, myths serve a the final battle between Ra-One and G-One

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) is particularly noteworthy because it frees us they model a manner of communicating and from affect in a sinister way that leaves us expressing the fantastic nature of terrified at the deepest level of our being. disagreeable content in human beings. As Pratik is kidnapped and brought at Azad bitter pills are sugar-coated, the repulsive in Maidan (Azad Ground) by Ra-One. G-One both these monstrous villains has been made reaches there in order to free Pratik from the attractive in order to make them bearable devil. The game resumes from the point and viable. The fact that these villains are where it was abandoned earlier. Pratik wears played by the Tollywood/Bollywood the playing jacket and starts his computer. superstars amply confirms that unless and The devil is let loose dreadfully. G-One until the evil is made attractive, it does not somehow manages to reach the third level, tend to function effectively from a moralistic but is exhausted and nearly outplayed by point of view. Bollywood films like Ra-One. At a nerve-racking moment, Ra- Khalnayak /the villain (1994), Darr / Horror One multiplies itself. G-One and Pratik are (1995) and Bazigar / Champion (1995) have perplexed to behold ten Ra-Ones. Exactly successfully experimented with this formula. when Pratik remembers Shekhar’s sentence, But Robot and Ra-One differ from these “Burai sang jo mel rachaya, samzo phir films as they do this in a science fictional kabhi na chute uska saya.”/whoever gets mode for the first time in India. As has been involved in an evil, then can never get rid of discussed earlier, attempts to explore its shadow. This is, in fact, a key to destroy aesthetic elements in a monster figure from the monster. The sentence, like a riddle in a moralistic point of view have already been Arabian Nights , helps Pratik to kill Ra-One. done with considerable results. Since the Pratik tells G-One to shoot at that Ra-One present age has witnessed an upheaval form which is having a shadow of its own. a generic point of view, we have greater Suspense dwindles. Exactly when G-One scope to experiment with established genres shoots Ra-One and is able to kill it. Thus, both in literature and films. In this sense, the Dashavatar (Ravan) is killed making Good- horror genre is congenial for both sf and One victorious. fantasy. It has already proved the paradox Independent films like Robot and that people enjoy being scared and Ra-One are significant cultural doubtlessly, older myths contain much that commentaries on the nature of evil because can be engaged in for the purpose.

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print)

Paradoxically, Robot and Ra-One have been From Homer to Harry Potter: A Handbook classified into a superhero genre, but the on Myth and Fantasy . Michigan: Brazos above analysis firmly establishes that it is Press, 2006. Print not the superhero who puts a special stamp Ferrell, William K. Literature and Film as on it, but the villain who reigns supreme Modern Mythology . Westport, CT: throughout. Among other things, the Greenwood Press, 2000. Print popularity of Robot and Ra-One suggests Fredericks, Casey. The Future of Eternity: that people enjoy being numbed (and Mythologies of Science Fiction and Fantasy . informed about the true nature of evil) by Bloomington, Indiana UP, 1943. Print the overload of fear. Koepe, David . “ Nothing but the Dark Side of Ourselves? The Devil and Aesthetic References Nihilism.” Eds. Brett Cooke, George E.

Baudrillard, Jean. “Simulacra and Slusser and Jaume Marti-Olivia. The Simulation.” Ed. David Lodge. Modern Fantastic Other: An Interface of Criticism and Theory: A Reader . Delhi: Perspective . Amsterdam: Rodopi, 1998. Pearson, 2004. 403-412. Print 143-163. Print Bould, Mark. “Film and Television.” Eds. Kroeber, Carl. Romantic Fantasy and Edward James and Farah Mendlesohn. The Science Fiction . New Haven: Yale UP, 1988. Cambridge Companion to Science Fiction . Print Cambridge: Cambridge UP, 2003. 79-95. Letson, Russell. “Portraits of Machine Print Consciousness.” Eds. Thomas P. Dunn and Bova, Ben. “The Role of Science Fiction.” Richard D. Erlich. The Mechanical God: Ed. Reginald Bretnor. Science Fiction: Machines in Science Fiction . Westport, Today and Tomorrow . New York: Harper Connecticut: Greenwood Press, 1982. 101- and Row, 1974. 3-16. Print 108. Print Buckland, Warren. “Between Science Fact Lyden, John. Film as Religion: Myths, and Science Fiction: Spielberg’s Digital Morals, Rituals . New York: NY UP, 2003. Dinosaurs, Possible Worlds, and the New Print Aesthetic Realism.” Screen . 40.2 (1999): O’Leary, Crystal L. “Transcending 177-192. Print Monstrous Flesh: A Revision of Hero’s Dickerson, Matthew T. and David O’ Hara. Mythic Quest.” Journal of the Fantastic in

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LITSEARCH www.litsearch.in ISSN 2277-6990 (Print) the Arts . 13.3 (2003): 239-238. Print Praz, Mario. The Romantic Agony . Translated by Angus Davidson. Second Edition. London: OUP, 1951. Print Spinks, C.W. “Motifs in Science Fiction as Archetypes of Science.” Extrapolation . 27.2 (1986): 93-108. Print Virdi, Jyotika. The Cinematic Imagination: Indian Popular Film as Social History . New Jersey: Rutgers UP, 2003. Print Whitlark, James. “Horrifying Boredom in Michael Crichton’s Fictions.” Journal of the Fantastic in the Arts . 13.3 (2003): 226-238. Print

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