सा त्वस्मिन् परप्रेमरूपा ॥ २ ॥
Sā tvasmin parama-prema-rūpā.

Bhakti is of the nature of supreme love directed towards Bhagavān 

~ Nārada Bhakti Sutra, 1.2

Bhāratabhūmi is a santabhūmi—a hallowed land walked by great mahātmās, tapasvīs and ṛṣis. From the Āḻvārs and Nāyaṉmārs of the South to the Vārkarīs of Maharashtra, the Braja-vāsīs of Vṛndāvana and the sādhus who make Himachal their home, this land is replete with the stories of extraordinary bhaktas who are like shining gems studding the crown of Bhagavān, the parama-puruṣa. One such figure who features prominently in the ādhyātmika consciousness of Bhārata and in the hearts of its people is Śrī Neem Karoli Baba.

The movie Hanuman Ansh, directed by Śrī Vishal Chaturvedi, is a refreshing, honest and befitting depiction of Baba’s endearing transformation from a young boy who leaves home seeking Śrī Rāma to a revered yet simple-hearted saint, dear both to the Divine to whom his life is dedicated and to the countless devotees who continue to seek his healing presence. Set amidst lush green locales, soothing lakes and humble village dwellings, and accompanied by musical scores that elevate and stir the viewer, the film draws you in from the outset.

Tapasyā — Mapping Baba’s Sojourn Across Bhārata

The film unfolds as a poignant conversation between a devotee of Babaji and young children who are brimming with questions about this mysterious persona. It is symbolic of how tradition and devotion travel from one generation to the next, cemented by the depth of bhāva and śraddhā. The plot also serves as a reminder of what we have inherited and what we owe to our children.

A young Laxminarayan (Neem Karoli Baba’s name as a child), who has lost his mother, hears people say that she has gone to Bhagavān. Thus begins his innocent yet determined quest to find both his Mā and Bhagavān. He is drawn to the form of Śrī Hanumān and the nectar-like nāma of Śrī Rāma, like a bee drawn to a beautiful flower. He is found chanting Bhagavannāma, seated on the branches of trees, walking difficult paths and standing in lakes, unmindful of his physical body and surroundings.

Eventually, his immersion in the contemplation of the Divine and the incidents around him lead the child to leave home and traverse the terrains of Bhārata, from Braja-bhūmī to the Rann of Kutch, often travelling with sādhus who treat him as their own.

At one point in the journey, he is taken in by a kind Mahant who offers him shelter and space for his sādhanā. In a pivotal moment in the film, the Mahant is visibly surprised by the young boy’s effortless ability to converse with nature—trees, birds and other beings. While this is a powerful siddhi, it also shows us what happens when the being becomes truly expansive and one with the cetana-tattva that animates all. A conversation on the idea of āsakti, or attachment, and its subtle ways of binding follows. Thus, when the Mahant, who is also seeking a successor, offers the lucrative position to young Babaji, he very calmly responds:

“Mahant ji, aap mujhe usi aasakti mein bandhna chahte hai? Aapne mujhe aaj anmol gyaan diya hai. Mujhe aagya dijiye, ab mujhe yaha se jaana hoga.”

In detailing the intense tapas that Babaji undertakes in his search for Śrī Rāma, the story thus offers a foundational view of the vairāgya, bhakti and jñāna that are central to a mahātmā’s life.

Limitless & Effortless — Karuṇā of a Mahātmā

It is said that the saṅga of a mahātmā is durlabha, i.e., it is not easily found. It arrives with Īśvara-kṛpā and one’s own intent and actions. The touch of a mahātmā, one who is verily an instrument and an aṃśa (an aspect) of Bhagavān Himself, is the greatest anugraha that our lives can receive. That presence itself purifies and heals.

The movie draws upon a range of incidents from Babaji’s life to showcase the infinite love and karuṇā that Bhagavat-bhaktas hold for those around them. From atheists and freedom fighters to common folk, hundreds have been drawn to the inimitable simplicity of Śrī Neem Karoli Baba.

The movie also speaks to us of the centrality of sevā to a sant in our tradition and how it comes as the most natural activity to the people of this land. In reality, the mahātmā has no need for our services, for he belongs to Bhagavān. In receiving our sevā, he uplifts us, bestowing immense joy and deep fulfilment. And in offering sevā, we are freed from the bindings of our own ahaṅkāra and become receptive to the anugraha of the sacred.

It is such delight, love and protection that those who are touched by Babaji experience. One such story, for example, is that of the freedom fighter who is the narrator in the movie, and how he transforms from being an atheist into a devotee of Babaji, protected and nurtured by him at a critical juncture in his journey.

Another example is the relationship that the village folk of Kainchi grow to share with Babaji, almost like that of a parent and his countless children. They grow to serve him day in and day out, sometimes even squabbling over who loves Babaji more! Once, when he visits a poor devotee’s home for lunch, knowing her concern that the food might run out, he ensures that the portions in the pots never end. The movie thus weaves together humour, devotion, joy and compassion into one harmonious whole.

It also points out certain subtle principles that underlie what we term miracles. A mahātmā is a trikāla-jñānī (one who knows the past, present and future) and is situated in the hearts of his devotees, privy to their innermost thoughts, desires and concerns. With his discernment, śakti and kṛpā, he intervenes as and when needed, protecting and guiding the flow of the lives of his devotees and śiṣyas.

Bhagavān & the Bhakta — A Relationship Beyond All

It is said that once a bhakta belongs to Bhagavān, the Lord walks extra miles to ensure that he or she is taken care of. Such is the pure love and sweetness that form the tattva of this unique relationship. The movie depicts many such heart-warming incidents—whether it is Babaji caring for his devotees or Hanumānjī caring for his beloved bhakta and His own aṃśa.

One such instance is particularly deeply moving. Once, in colonial India, Babaji is thrown out of a first-class train compartment by a British man, and the train is forcibly halted. People around caution the man, but he pays no heed. Babaji’s kind, calm self remains unruffled. But the train does not move, even as devotees pour in to pay their respects to Babaji. For it is Hanumānjī’s krodha at play. This episode serves as a reminder never to insult a sant. In fact, this becomes the promise that Babaji seeks from the repentant British man: “That no sant will ever be disrespected or thrown out of a train ever again in India.”

There are other significant and poignant episodes that show us that a mahātmā is not separate from the Divine whom he lovingly serves and embodies, and that those who disrespect his presence and his bhakti pay a price for their own ignorance. We leave it to our readers to watch the film and discover these episodes for themselves.

Another aspect of a mahātmā is that he constantly guides people to place their minds at the feet of Bhagavān and offer their prayers and actions to the Divine. When Babaji realises that the offerings of the villagers to him will never stop, he directs them towards Hanumānjī.

This episode, in which he lovingly builds Hanumānjī’s mūrti and joyfully has the villagers break into devotional chants, marks one of the most elevating yet blissfully carefree moments in the film. These segments tell us that a bhakta has no other care but for Bhagavān and bhagavat-kārya alone. And a mahātmā’s greatest role is to offer a touch of the Divine to those in need.

Cinematic Frames, Music & Storytelling

Throughout the film, it is Director Vishal’s devotion and artistry, his team’s skill and the brilliance of the actors that stand out. A special mention is due to lead actor Śrī Shobhinaw Satyaa, who lends life, depth and character to the portrayal of Śrī Neem Karoli Baba. The rest of the ensemble cast comprises actors such as Śrī Chandan K. Anand, Śrī Anil Rastogi and many others who together strengthen every frame of the movie.

The natural landscapes leave a rejuvenating impact on the mind long after the movie ends. They lend themselves beautifully to the narrative arc and establish the centrality of prakṛti, of a sacred geography, to the very existence of Bhārata and to the elevation of a seeker’s consciousness.

The background scores are apt, taking on various shades of emotion. The “Namah Shivaya” score reminds us that Śrī Hanumān is none other than an aṃśa of Bhagavān Śiva Himself. “Hridaya Mein Jinke Sita Rama” embeds itself firmly in all our hearts, long after we leave the cinema theatre.

The song “Parvati”, composed for the episode in which Babaji chooses to return to gṛhastha-dharma, brims with authentic Uttara Bhārata cultural depictions, the raw emotions of a young bride and the expectations of her heart. “Rama Bhajan Ki Or” is a breezy devotional number that can uplift a sagging mind on any day.

A word must be said for the gripping finale, which keeps one on the edge of one’s seat, where the protective power of a mantra—in this case, the Hanumān Cālīsā—shines through amidst the dangerous terrain of dense, haunted forests. Śrī Neem Karoli Baba’s words advise, “Mann se nahi bola, toh mantra bhi kaam ka nahi,” echoing the steadfastness and single-pointed śraddhā that a mantra demands. Mananāt trāyate iti mantraḥ—instructs the śāstra; i.e., a mantra is that which protects the mind.

As Babaji tells us that we will find him in the mountains of Kainchi and bids adieu, the heart settles into a certain quiet. The rasa one feels after the movie ends is śānta—a touch of bliss and deep peace.

As the end credits of the film roll, we witness the tapasya and śraddhā that went into the making of the film. From the saṅkalpa of chanting the Śrī Hanumān Cālīsā to serving bhojana to the needy, the devotion of the crew is an apt example of the sattva, bhāva-śuddhi (purity of intent and emotion) and aucitya (propriety) that such civilizationally anchored, large-scale creative endeavours demand.

The countless stories of Bhārata hold immense power and potential, waiting to be told and retold. The beauty of our times is that modern media and storytelling formats lend themselves perfectly to this need.

Recently, I was informed of a pioneering and beautiful dance drama on the life of Sant Janābāī, one of the greatest bhaktas of Śrī Pāṇḍharapura Viṭṭhala. May more such truly Bhāratīya creative visions spring to life.

May quality cinema like Hanuman Ansh inspire more dhārmika storytellers to tell the tales of the bhaktas, the rājās and rājadhānīs, the various paramparās of study and practice, our devīs and devatās, the ṛṣis, the kavis and the many others who have made Bhārata the living civilization that it is. May we all offer our āhuti unto this mahā-yajña.

Jaya Hanumān! Jaya Sītā-Rāma!