
Yash collaborates with Hollywood stunt director Guy Norris for Nitesh Tiwari's ‘Ramayana'
The work on Nitesh Tiwari's Ramayana has been going on in full swing, with actors undergoing intense training for action sequences. Actor Yash, who will be seen donning the role of Ravana in the magnum opus, is currently working with popular Hollywood stunt director, Guy Norris, to shoot massive action sequences.
Recent images from the set show Yash in peak physical form -- ripped, intense, and battle-ready. Directed by Nitesh Tiwari and produced by Namit Malhotra's Prime Focus Studios and Yash's Monster Mind Creations, Ramayana Part 1 is slated for release on Diwali 2026, and the second part on Diwali 2027.
Reportedly, Ranbir Kapoor will play the role of Lord Rama and Sai Pallavi as Sita. In Novemer, Namit Malhotra, who has previously worked on several high-profile Hollywood projects including Dune and Inception, announced on his official X handle, expressing his excitement for the project.
ALSO READ:Ranbir Kapoor, Yash and Sai Pallavi's 'Ramayana Part 1 and 2' officially announced; first poster out
In a heartfelt message accompanying the film's first poster, he wrote, "More than a decade ago, I embarked on a noble quest to bring this epic that has ruled billions of hearts for over 5000 years to the big screen. And today, I am thrilled to see it taking shape beautifully as our teams work tirelessly with only one purpose: to present the most authentic, sacred, and visually stunning adaptation of our history, our truth, and our culture - our RAMAYANA--for people across the world."
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


India.com
20 hours ago
- India.com
This actor once played Indradev in Mahabharat, was called the Amitabh Bachchan of Punjab, but spent his final days in an old age home, begged for money, died due to…
Mythological dramas have always been loved by the audience. From the starting days of entertainment, when movies did not make a place in the audience's hearts, it was mythological dramas like Mahabharata, Ramayana which were loved and watched by the audience without a miss. Today, we will discuss an actor who featured in Mahabharat and reprised the role of Indradev. While his popularity grew with the role, on his personal end, this actor faced major problems. This actor was sent to an old age home, had to beg for medicines in his last days, and died painfully. If you are wondering who we are talking about, then this actor is Satish Kaul. Kaul, who was popularly called the Amitabh Bachchan of Punjabi cinema, worked in over 300 films and even shared screen space with legends like Dev Anand, Dilip Kumar, and Shah Rukh Khan. Some of his memorable roles include films like Sassi Punnu, Ishq Nimana, Prem Parvat, Suhag Chooda and Patola. Satish was honoured with the Lifetime Achievement Award at the PTC Punjabi Film Awards in 2011 for his significant contribution to Punjabi cinema. Satish's last days were extremely painful. In 2020, the lockdown happened after Covid, and it affected him financially. In one of the interviews, Satish revealed that he had to struggle for medicines, groceries, and basic necessities. He urged people in the industry to help him. Satish Kaul's condition worsened after a fall in 2015. He fractured his hip and had to be on bed rest for two years. In such a situation, his financial condition worsened further. Eventually, the actor had to stay in a nursing home in Ludhiana. He was later diagnosed with Covid-19 and was admitted to a hospital in Ludhiana, where he passed away at the age of 74. Satish was known for the role of Indradev in Ravi Chopra's directed Mahabharat.


The Hindu
2 days ago
- The Hindu
Review of The Living Legend by Vayu Naidu
The Living Legend by the British-Indian writer Vayu Naidu is yet another book on the Ramayana. It is not a retelling in the sense of adding a hitherto unexplored interpretation of a character's supposed motives or responses. But it is a 're-telling' in the sense of telling the same story again. It draws from several versions of this epic as it travelled orally across geographies and it uses the format of the seven kandas, without labelling them. The introduction to this book expresses the author's intent. It is an attempt to foreground 'not just the internal drama of the characters… but the dependence and interrelations between animal forces and plant forces'. It also speaks of the principles that sustain both individuals and societies and it elaborates on the multiple levels of interpretive possibilities of this epic. The Dandaka forest is a metaphoric space and the story is an unfolding of the truth of consciousness. To Dasaratha, Rama is his 16-year-old son but to the sages Vashistha and Vishwamitra, Rama shows the way to dispel the darkness of ignorance. What, however, propels one to turn the pages of this book is neither the theme of cosmic interconnectedness nor the metaphoric interpretations but the sheer power of the 'internal drama' of the original story. No matter how many times one has heard the story, one is hooked to Rama's encounter with Ahalya, his breaking of Shiva's bow to claim Sita's hand in marriage, his exile into the forest, the abduction of Sita by Ravana, Hanuman in Lanka, and the whole tragedy of the two lovers, Rama and Sita. Contemporary contexts This leads one to wonder why people 'write' or 'tell' the same stories again? If the plot is a well-known one, then there should be something special about the 'style' of presenting the story. The genius of the writer's voice must shine through — like Tulsidas' Ramayana or that of Kambar. Just as a pastoral poem or an elegy has its poetic convention, our epic poems too — principally the Ramayana and the Mahabharata — function within the framework of the timeless principles of dharma, artha, kama and moksha. Dharma or ethical principles and moksha or salvation are the outer guiding boundaries within which the play of artha and kama (wealth and pleasure) are acted out. If these boundaries are taken away in the retelling, we are left with only the flippant beggary of a 'romantasy'. The attempt in this book is also to make the story accessible to the millennial reader by using contemporary contexts. 'Lakshmi had just returned from a timeshare on the ocean-of-consciousness holiday'; 'Ayodhya would continue to host the best Performing Arts festival'; 'Rama was cool'; many courtiers saw the Rama-Sita alliance as 'the dawning of a new era in economic expansion, military security through diplomatic negotiation, and tourism…' These and several other such examples are creative and interesting but the judicious young reader can decide if these enhance the contemporaneity of the story. While Naidu acknowledges her gratitude to the publishers 'for insightful editing', several bloopers dot the novel. Errors are understandable but is it pardonable to write Ishvaku for Ikshvaku? Is it appropriate to mis-write 'mahavakyas' as 'mahakavyas'? Where is the hurry to bring out a book? This story is not running away from anyone — let's give it the regard due to it. The reviewer is a Sahitya Akademi translation award winner. The Living Legend Vayu Naidu Penguin Ebury Press ₹399


India Today
4 days ago
- India Today
F1 movie review: Brad Pitt delivers the most enjoyable film of the year
Joseph Kosinski, who directed Tom Cruise's bona fide smash 'Top Gun: Maverick', is also the director of the upcoming motor-racing adrenaline rush titled 'F1'. To sum up F1 in a line - it's about experiencing a visceral, high-speed head rush inside the claustrophobic cockpit of a racing car.'Top Gun Maverick' and 'F1' have a lot of similarities - both are headlined by the world's biggest superstars. One has the daredevil Tom Cruise while the other has the absolutely charming and handsome Brad Pitt. They both have top-notch soundtracks boasting of big pop stars like Lady Gaga in 'Top Gun' and Doja Cat in 'F1'. But despite the comparisons, they are both very different. How ? Let's find has Pitt playing the title role of a washed-out ageing race driver, Sunny Hayes. He gets a once-in-a-lifetime offer from his old colleague, played by Javier Bardem, to join his team of racers and help him qualify and possibly win the F1 title. It all seems very unlikely with Sunny's ageing career and rising competition from Joshua Pearce played by the surprise package of the film - Damson Idris. There are so many subplots that add up and lead to that mind-numbing climax, and every actor and character has his or her space in this high-octane journey. Take a look at F1's trailer: F1 is easily one of the best films of the year simply because it knows how to dish out what it promises to its audience. From the very first frame to the last, the build-up is so solid that you forgive some of the gaps and overlook the blunders. The camera work is sharp and the Hans Zimmer background score is hypnotic. It almost feels like the Inception sound on LSD. But the single best reason why 'F1' works so well on the big screen is - Brad Pitt bringing that good old-school charisma back to the big director has clocked some bare-body money shots of Pitt to show that he still has got that sizzle, but it's his face that really is the main draw. With those tossed-up hair and that blue-eyed grin he could sell you air for a dime, and you would buy a barrel! Another strong point of the film is the young actor Damson Idris, who is rock solid in his performance as Pitt's adversary cum sidekick. His character is so nuanced and grey that it's a delight to watch him in awe. He stands his own ground in the big stand-off scenes with Pitt and excels at his craft.'F1' is not deep or serious. It doesn't engage you much at that level. But it reminds us why we go to the theatres - to have a blast. At a time when this experience of having a good time in the theatres is getting less and less enjoyable, 'F1' is a reason to celebrate. Jump on that ride, fasten your seat belt because 'F1' is one hell of an adrenaline rush that you don't want to miss!4 out of 5 stars to Reel