Arjun: The Warrior Prince



Arjun voiced by Yudhveer Bakoliya combines hand-drawn and computer graphics in a mix that leaves displaced at the beginning, but which we can slowly get used to. The plot unfolds rapidly to hold fast to the attention of children, especially those lovers of sword fighting and gives way to scenes of battle, sometimes quite bloody. The film was meant to be enjoyed by adults, and the emotional content is there.

Western critics held that Arjun The Warrior Prince was too old-school and that the children, accustomed to the wonders of Pixar, the approach of the film could be considered a bit too outdated and traditional. Subtitles are been criticized for their vagueness, and the women who appear in the film do so only to get married or to take care of men.

A concept that definitely does not go down to the West, but watching a foreign film is to enter into the culture and mindset of another people. Needless to criticize. Much appreciated the soundtrack, the attention to detail in clothing and jewelry. The story boarders have done a great job of historical reconstruction, making an animated film in a collection of valuable information about the world of India that was.

Yuvraj gets excited like crazy, alone with his wooden sword against a cloth mannequin. However, night fell on the palate. It is time to sleep. The young prince is of course unable to fall prey to sleep, then, as before, his housekeeper tells him a story. The story of a great warrior, that could help Yuvraj to sleep.

There are long, the kingdom of Hastinapur, the King Pandu had abdicated in favor of his brother Dhritarashtra and had gone live as a hermit in the forest. There had been five son that collectively called the Pandavas. On the death of Pandu, the family moved back to the palace. Dhritarashtra had hundred son, the Kauravas. The five Pandavas were thus faced with their cousins ​​the Kauravas, trained together in weapons from Drona. Arjun was the cleverest, especially with a bow. Drona had high hopes in the young Pandava.

But as time passes, rivalries and jealousies between Pandavas and Kauravas became more vivid. During an exercise, Duryodhan, the eldest of the Kauravas had even tried to drown Bheem, the youngest of the Pandavas. The old king Dhritarashtra had understood that his own succession would be difficult and the war between the Kauravas and Pandavas appeared difficult to avoid. Duryodhana wanted at all costs the crown of Hastinapur, even if he needed always to kill his cousin Arjun.

Arjun: The Warrior Prince tells a small part of the Mahabharata, simplified and romanticized. Yet it is an extraordinary wealth to the point that the movie starts may seem difficult to follow. Perhaps to avoid countless digressions, many aspects are ignored. Thus, for example, the viewer may be surprised to discover, without explanation, that the king Dhritarashtra is blind and wonder about the fact that his wife Gandhari accompanying blindfolded. Their age difference surprise while his progeny percent son is amazing. However, little by little, we are entering the epic. The religious aspects, hidden at first, gradually illuminate understanding culminating in the initiation of Arjun.

The film can happily be seen as an extraordinary and fascinating history. After 30 minutes, we are familiar with many characters. Their own logic becomes accessible to us and we can attach and understand it. The fact remains that the gap with western references is immense. The war between the Pandavas and the Kauravas is not the Trojan War. Arjun is neither Achilles or Aeneas, it is much more than that. It can be the work of the writers who have managed the feat to make us see the wonders of this world without tiring or drown in its complexity.


The motivations of both the Pandavas as Kauravas are very human. Jealousy, revenge, immoderate thirst of power, they show us the full range of our depravity. We are therefore based on familiar ground. The epic is however another dimension when the gods are involved, Krishna and Shiva first, Arjun becomes divine warrior. The housekeeper punctuates softly his story to the young Yuvraj by explanations that we are also intended. This does not akin to religious education. The authors leave us free to join or not to see a wonderful story. Corporations are not dealt out multiple as indisputable truths. Rather, it is proposed that the viewer can ultimately accept or reject.

We can therefore settle fights and battles that punctuate the narrative. Arc urumi, sword, spear, churika, everything is good to destroy his opponent. When weapons are not available, it is punched or kicked it will be brought down. Arjun: The Warrior Prince is bloody, as if to illustrate the troubled times of this great fratricidal war. Young boys will certainly thrilled, girls may be less. Basically, the only meaningful characters are male, while women are far behind. Even Draupadi, the wife of Arjun entitled only to a few words. On closer examination, his hand is the first prize in a contest address of killing a fish. It is beautiful, but still ...

The text of the Mahabharata is even more cruel to Draupadi. It is actually the wife of the five Pandavas and not only Arjun as shown in the film. Moreover, when lost in a game of dice which it is the last, it should only piety of not being violated by the Kauravas, which is not even suggested here. The authors have not only simplified the story, they also have an update. They also completely out of time. Films and series such as Karnan or the famous Mahabharata broadcast in 94 episodes on Doordarshan channel from 1988 generally describe an epic that could be at relatively recently. It is not possible here to imagine when it occurs blurring pins and helps to get carried away by the whirlwind.

This is also the case of another animated film, Mahabharat, released with fanfare at Christmas 2013, with a galaxy of stars to double the characters and give them a face. The extremely poor entertainment even worse than Kochadaiiyaan: The Legend as the ugliness of his sets deter even the most curious. On the contrary, the sets of Arjun: The Warrior Prince are often beautiful, part of the pleasure of seeing the film. Characters cel-shading are easily identifiable and entertainment, but not always meet modern western productions are quite acceptable. The fights are addictive and well choreographed.

This technical success is accompanied by interesting digital effects such as fire or shading. Camera movements are perfect, suggesting that part of the animation was done by computer. Some even scenes were played by actors and then redrawn by hand. This method differs from the motion capture, increases by realism by enabling smooth natural motion. Finally, the evocation of the divine is remarkable, the opposite of what we see in most Indian mythological films.

The sound is no exception. The sound effects are impeccable and the voices are very nice, especially that of the housekeeper. The background music Dhruv Ghanekar perfectly accompanies the action as in the final battle. Arjun: The Warrior Prince includes six songs from Vishal-Shekhar duo. They are pretty without yet stay in the ear or invite to the dance.

Animated films are usually for young audiences. This is also the case of Arjun: The Warrior Prince . What marketing Disney - who co-produced the film - does not say is that the parents will also win to accompany their children. A remarkable story may be on multiple levels. It is akin to an ever preaching and do not repel one second those that would scare the Mahabharata. This success is perhaps the Indian animation film the most successful technically.

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