Agarbatti and cotton for VFX! How Ramanand Sagar created ‘Ramayan’ four decades back without computers for just Rs 7 cr

The team behind Valmiki Ramayana unveiled a fresh poster on the occasion of Hanuman Janmotsav, building buzz around what is being described as India’s most expensive film project. Mounted on an estimated budget of around Rs 2,000 crore for two parts, the film features a star-studded cast including Ranbir Kapoor as Lord Ram, Sai Pallavi as Sita, and Yash as Ravana.

But as excitement grows, comparisons with Ramayan have inevitably resurfaced—especially given the legendary status of Ramanand Sagar’s version, created nearly four decades ago with limited technology and a fraction of the budget.

On social media, users have been quick to contrast the scale of the two projects, with some pointing out how Sagar’s Ramayan, reportedly made for around Rs 7 crore (roughly Rs 150 crore today when adjusted), continues to hold an emotional edge over modern adaptations despite their massive spending.

A Cultural Phenomenon Like No Other

When Ramayan first aired in 1987–88, it became a defining moment in Indian television history. With an estimated production cost of around Rs 9 lakh per episode, it was considered one of the most expensive TV shows of its time. The series went on to draw tens of millions of viewers, turning into a shared national experience.

Its popularity reached extraordinary levels—Sunday mornings would see empty streets, shuttered shops, and families gathering in reverence before their television sets. According to historian William Dalrymple, entire towns would pause as people assembled around a single TV to watch the epic unfold, with even government schedules reportedly disrupted.

Crafting Magic Without Computers

What makes Sagar’s Ramayan even more remarkable is the sheer ingenuity behind its production. Long before digital VFX or AI tools existed, the team relied on practical effects and relentless effort.

As per Ramanand Sagar’s son Prem Sagar, filming schedules were intense and often unpredictable. The cast and crew worked around the clock for over a year, frequently traveling between Mumbai and Umbergaon. There were no structured call sheets—if a scene was written in the middle of the night, it could be filmed within hours.

Special effects were achieved using creative, hands-on techniques. As recalled by Prem Sagar, the team used back projection, miniatures, glass paintings, and early machines like the SEG 2000 to simulate divine weapons and visual sequences. Simple materials—like cotton on glass to mimic clouds or incense smoke to create mist—helped build entire worlds on screen.

Scenes depicting celestial realms or mythological events were crafted using slide projections and scaled models, proving that innovation often thrives under constraints.