Be it Nitesh Tiwari’s Ramayana’s international promotional tours, crafty marketing gimmicks around the release of the Ramayana comics, or the recently released trailer, this film is all that cinephiles are raving about.
Sure, there have been mixed reactions to it.
The trailer of the grand visual spectacle was globally unveiled online and across major digital platforms on July 30, 2026, at 4:15 AM IST. Fans had a few complaints – they missed seeing a glimpse of Sunny Deol as Lord Hanuman, while the wardrobe designed by Rimple and Harpreet received severe backlash, particularly for Sita (Sai Pallavi) and Kaikeyi’s (Lara Dutta) characters.
But on the bright side, what took viewers by surprise was what they actually found impressive.
Apart from Yash’s towering presence as the vile Ravana, it was Rakul Preet Singh whom the internet dubbed the “most glamorous Rakshasi ever”. She indeed stole the show and became a viral phenomenon on social media, which led us to revisit the timeless portrayal of the demoness by Renu Dhariwal in Ramanand Sagar’s classic Ramayan (1987).
Here’s a breakdown of the similarities and dissimilarities between the OG and the latest portrayal of Surpanakha, based on what has been revealed until now.
Who Was Surpanakha?
Surpanakha was the daughter of Sage Vishrava and Kaikesi, and the sister of the demon king Ravana in the Hindu epic Ramayana. As the legend goes, and as the context seeped into the story of the films too, while wandering in the forests, she saw Lord Rama in Panchavati and was besotted with him.
Using her magical powers, she disguised herself as a striking and alluring woman and proposed to Rama, only to be rejected as Rama was loyal to Sita. She was then redirected to his brother Lakshmana, who also denied her. Enraged, she marched to attack Sita, only to have her nose severed by Lakshmana.
Surpanakha’s humiliation and her vengeful steps towards manipulating her brother Ravana played a very crucial role in Sita’s abduction, which ultimately led to the great war of the Ramayana and the destruction of the demon kingdom.
Rakul Preet Singh Impresses As A ‘Glamorous’ Surpanakha
Rakul Preet Singh struck a chord with her screen presence in the crisp Ramayana trailer. Fans were in awe of her searing expressions and how ethereal she looked in the traditional get-up. Dripping in striking golden jewellery, dramatic costumes and regal poise, she appears on a carriage and says, “Main Surpanakha.” It all had a vibe that clearly clicked.
Some did find it over-the-top glamorous too, saying that it diverged largely from what she is supposed to look like as per the Treta Yuga.
But Nitesh Tiwari seemed to have impressed critics so far by letting Surpanakha’s brief appearance in the Ramayana trailer reflect her opulent status as a princess of Lanka and Janasthan. A quick transaction of her nose being chopped by Lakshmana is also interspersed, which ties in with what Rakul Preet Singh recently said about her character, “History only remembers her for one thing, but she is so much more.”

But before Rakul Preet Singh, there was Renu Dhariwal in Ramanand Sagar’s Ramayan, and it became timeless for how it turned into a pop-cultural phenomenon that added fuel to the core conflict of the epic.
Timeless As The OG Surpanakha – Renu Dhariwal
Renu Dhariwal captured the audience’s attention as Surpanakha with her loud expressions and the raw emotion of the complex character she brought forth with piercing aggression.
One of the most memorable highlights from Ramanand Sagar’s Ramayan was her high-pitched and melodramatic confrontations with Ram and Lakshman.

When we compare Renu Dhariwal and Rakul Preet Singh’s versions of Surpanakha, there are certain similarities and dissimilarities in their portrayals, as suited to their respective eras and as befitting the epic.
Old Vs New
To begin with the costumes and makeup that play an integral part in a mythological epic like Ramayana, which has had varied adaptations, there are distinct factors.
Renu Dhariwal’s get-up was more rooted in the 1980s television approach to mythological villains. The vicious vibe of her character was amped up to make it more theatrical and tropey rather than subtle. Television prosthetics and stage makeup were a no-brainer in the characterisation.
Rakul Preet Singh’s representation is more high-end: regal in its approach and absolutely polished. From rich ethnic fabrics to designer draping, nothing about her look is simple; it is as glamorous as it gets.
A stark contrast to the basic appeal of Renu Dhariwal’s Surpanakha.
Coming to the performances, we are yet to see what Rakul Preet Singh brings to the table, but the brief glimpse of her in the latest Ramayana teaser sets the tone for a more grounded and commanding screen presence, as opposed to the loud, high-on-theatrics performance of the 1980s.
As for the production value, it goes without saying that the modern adaptation has gone big on VFX-heavy aesthetics. While Nitesh Tiwari’s Ramayana was initially trolled, the recently released trailer received a nod from the audience and there was more of a mixed-bag reaction to the improved CGI.
As for Surpanakha, Rakul Preet Singh looks like a more stylised version of the character, an elevation from the television caricature version of Renu Dhariwal in the 1980s.

What stays intact is how bitter Surpanakha was after being rejected by Ram, raging towards Sita and getting her nose cut. Her simmering wrath turned her into the primary instigator behind the war of Ramayana after she demanded her brother Ravana take revenge for her insult. Both iterations have kept her core personality intact, which is that of a fierce princess catapulted into being demeaned, but it was not Ram who was to be blamed; it was Surpanakha’s bruised ego and unbending infatuation.
As for Rakul Preet Singh maintaining the streak of impressing the audience, and with expectations now high considering the reception to the trailer, that will only be known when Ramayana Part 1 releases in Diwali 2026.

Until then, here’s to jogging our memory with a mix of history, the many representations and the accompanying expectations to mull over.
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