When visionary director S. Shankar takes to social media to commend a cinematic spectacle, the entire film industry sits up and takes notice. Revered for decades as Indian cinema’s foremost trailblazer in visual effects and grand-scale storytelling, Shankar recently expressed unreserved admiration for director Nitesh Tiwari’s mythological magnum opus, Ramayana. However, what began as a generous tribute from one filmmaker to another has inadvertently sparked a whirlwind of affectionate irony and nostalgic debates across digital platforms.
In his widely circulated post, Shankar showered immense praise on producer Namit Malhotra and director Nitesh Tiwari, lauding their ambitious undertaking for elevating Indian cinema to international technical standards. He lauded the production for its breathtaking digital artistry, rich world-building, grand sound design, and the sweeping musical score composed jointly by A. R. Rahman and Academy Award-winner Hans Zimmer. Adding a special word of appreciation for actor Yash—who portrays Ravana—Shankar highlighted the star’s magnetic screen presence as a compelling antagonist, while also extending warm wishes to lead actors Ranbir Kapoor and Sai Pallavi.
Yet, it was a single phrase in Shankar’s glowing review that caught netizens by surprise: his assertion that he had “never seen visuals like this in Indian cinema.”
For thousands of movie enthusiasts and loyal fans, that remark felt surreal coming from the very man who revolutionized modern Indian VFX. Within moments, social media feeds were flooded with memes, film collages, and witty retorts. Cinephiles quickly reminded the director of his own monumental body of work, asking in playful disbelief whether the “Master of Grandeur” had forgotten the groundbreaking benchmarks he had set in films like Enthiran, 2.0, Anniyan, and I.
The primary focal point of the online banter emerged around Shankar’s sci-fi blockbuster 2.0 (2018). Fans promptly dug out iconic frames of Pakshi Rajan—the colossal avian entity formed of discarded mobile phones—and placed them alongside the digital giant eagle revealed in Ramayana. Side-by-side video clips and photo montages drew immediate comparisons between the two productions. Many noted that Shankar had mounted and executed photo-realistic, complex CGI creatures and high-octane sequences on a reported budget of $82 million nearly a decade prior, achieving a visual density that still holds up fiercely against modern $250-million epics.
Rather than expressing malice, the overwhelming sentiment online remains one of immense respect and good-natured humor. Commentators pointed out that while Shankar demonstrated genuine humility in acknowledging the technical leaps of contemporary creators, the audience refuses to let him downplay his own pioneering status. As the discussions continue to trend, the episode stands as a striking reminder that while technology evolves relentlessly, the daring vision Shankar brought to Indian cinema remains etched permanently in the public imagination.
