What a quiet film about faith, simplicity and silence made me think about accepting myself for who I am.

The train wouldn’t move.

A British officer stood before the Baba sitting under a tree, engrossed in his bhajans, as villagers swayed in reverence, singing along. The train hadn’t moved for hours. The engine refused to roll. They even got another one, but that too couldn’t get the train moving.

And that’s how Neeb Karori Baba came to be, named after the village where he was forced off the first class compartment of the train in pre-Independent India. Eventually, it transitioned to the much smoother Neem Karoli Baba, whom we all know today.

Before talking about any saint or mystic, I’ve always begun by clarifying that I’m not religious, neither traditional nor ritualistic. But I am fascinated by the concept of God, an invisible, mysterious power that keeps us on our toes, intervening only when needed. And we label that as Karma.

As you might have guessed, I watched the movie Hanuman Ansh recently.

Why did I watch it?

The hype about it overtaking some of the bigger movies, and its small INR 2 crore budget.

But the primary reason was the mysticism that surrounds Neem Karoli Baba. I’ve visited the ashram in Delhi many times, primarily for the silence that surrounds it.

Unlike the more VFX-oriented Ramayanas that have failed, rightly so, this one has the charm of the real yesteryears movie. If you’ve watched Chupke Chupke or Anand, you know what I mean. Even Howrah Bridge or Chalti Ka Naam Gaadi came to mind. Not to miss B.R. Chopra’s Ramayana and Mahabharata that were aired on Doordarshan, now Prasar Bharti, in the late 1980s.

The movie’s success is also being compared to Jai Santoshi Maa (1975) which had also wooed audiences, beating commercial movies.

Hanuman Ansh moves through context: a simple village household with straightforward ways, a small child who wants to meet Ram and his mother who has now gone to Ram’s abode.

Tight editing, a calm aura and a no-rush, no-pressure rhythm elevate the mystical Neem Karoli Baba, making him an even more endearing human, long after his passing. There is no flaunting or glamourising,. He worshipped Hanuman because he believed that serving the monkey god was the road to finding his Ram.

And that, for me, is the beauty of the movie.

It doesn’t glorify God or Baba’s mystical powers. There is no demi-god cult here, no attempt to turn him into an extraordinary being hovering above ordinary life. Just a man who liked dhyan and worshipping Hanuman, cutting through the daily clutter of life to offer advice when needed.

The beauty of the story also lies in the simplicity of the dialogue and the way the actors deliver it.

While we’ve all seen Neem Karoli Baba’s photographs, actor Shobhinaw Satyaa’s heartwarming smile brings Baba closer to the public. Suddenly, the mystic in those familiar photographs feels less distant and more human.

It was good to see a simple movie. No unnecessary drama, no pressure, no spectacle. Just a gentle story spreading a message of positivity and cheer. Baba’s teachings transcended the bookish or scriptural versions, as he didn’t pursue formal education. He just retained his humane self with all its ups and downs.

Watching this movie reminded me that we should be who we are, trust our inner calling, and stop hiding in a herd.

In a time when cinema seems to have lost the plot, and turns to bigger sets, louder emotions and more spectacular effects to hold our attention, Hanuman Ansh takes the quieter road.

It cuts through the overpowering din of branding, superstar and superpower battles to align us with the reality of life.

And I’m going to watch it again. I’ll also probably end up going to all his ashrams as they are within drivable distance from Delhi.

Perhaps the second viewing will reveal something I missed the first time. Or perhaps I simply want to sit with that positivity once more.

Ambica Gulati is a journalist, senior editorial professional and storyteller with 26+ years of experience across India’s media landscape, including Swagat and Outlook Traveller. Her work spans travel, culture, environment, global affairs and visual storytelling.

Through Big World, Small Stories, she looks beyond the obvious to explore the people, places, encounters and ideas that reveal something larger about our changing world.

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