New York Premiere of Mystic India

17, 24 March 2007, Palisades Center IMAX Theatre, New York, USA In a spectacular and colorful premiere of Mystic India hosted at the Palisades Center IMAX Theatre in New York, over 700 invited dignitaries and guests viewed the two special screenings held on March 17 and March 24, 2007. The waiting area of the theatre was completely transformed with richly decorative Indian art and antiques. Before each of the shows, there was a brief introduction describing the commendable efforts by BAPS volunteers in the production of the film from concept to completion. Among the many guests who attended the occasion were: Consul General of India, Ms. Neelam Deo Dy. Consul General, A.R. Ghanashyam New York State Senator Andrea Stewart-Cousins Assemblyman, Upendra J. Chivukula Paul Feiner, Town Supervisor, Greenburgh, NY Seema Singh, President of Asian Indian Chamber of Commerce Rich Lamb, Senior Reporter, WCBS Newsradio 880 Dr. Bhupi Patel, President of American Center for Political Awareness Dr. Subramanian, Mr. Bharat Bhatt, Dr. Navin Mehta, Dr. Sudhir Parikh, Mr. Sunil Naik, Mr. Kenny Desai, other leaders of the Indian Community and journalists from various publications. The guests were enthralled by the inspiring story of Neelkanth, the sights, the sounds, the colors and the awe-inspiring festivals of India, beautifully depicted on film. The following are some of the opinions of the guests: “This is a spectacular revelation of a side of India I had never known. I am going to go to India with my wife.” Rich Lamb Senior Reporter, WCBS Newsradio 880 “Mystic India brought India back to life. It clearly depicts the way India stands. Every Indian should be grateful to BAPS for making this film.” Dr. Bhupi Patel President of IACPA “I learned from the film that you don’t need all the luxuries of life to be happy.” Paul Feiner Town Supervisor, Greenburgh, NY “I would like to urge every parent to make sure that their children watch this film and learn from Neelkanth’s experience. Most importantly they should learn about our culture and values, and pass it on to their children.” Seema Singh President of AICC

Mystic India Premiere in Jakarta-Indonesia

17 June, 2007 at The Keong Emas IMAX Theater

The Keong Emas IMAX Theater at Taman Mini came alive with the sights and sounds of India. Ibu Megawati Soekarnoputri, the former President of Indonesia was the Chief Guest of the Mystic India Premiere.

Upon hearing that Mystic India was to be premiered in Indonesia, Ibu Megawati
showed a keen interest and she personally invited many of the guests including
Ambassadors from 31 countries, Members of Parliament, prominent local business people and close friends.
In all, more than 720 guests were greeted in traditional Indian and Indonesian styles. VIP guests were treated to a pre-show reception and were welcomed by the sounds of classical Indian music.

At precisely 5:00pm, Shri Deepak Samtani, who was the MC for the evening, welcomed the audience. He was followed by Shri Suraj Trivedi welcoming the guests on behalf of BAPS, the producers of Mystic India. Next, Mr. Pramono Agoo, chairman of the opposition, addressed the audience and at the same time lauded the efforts of BAPS in creating such a fascinating movie. .Finally, the film began.

The guests were amazed by Neelkanth‘s true story of friendship , faith and fearlessness. Neelkanth’s story created a profound impression on the guests, with many wishing to know more about his life, his work and his message..

After the film, guests were treated to Indian vegetarian snacks and refreshments. Many commented on the film’s message of ‘unity in diversity.’

Shri Mircubhai, Shri Deepakbhai, Shri Laveshbhai, Shri Nalinbhai, Shri Harubhai, and Shri Shirishbhai. Mystic India was brought to Indonesia because of the cultural similarities between Indonesia and India. Mystic India will be screened for 6 months in the Bahasa Indonesia language. It is slated as one of the most interesting and eagerly awaited films to be screened in Indonesia

Opinions

“It was a very interesting film because it shows how beautiful India is, and how different people can work together to achieve a goal. The film has inspired me just like the first time I saw it in New Delhi. Please convey my warmest regards to your spiritual guru”

Ibu Megawati Soekarnoputri
The former President of Indonesia

“Mystic India has helped me realize the importance that spirituality plays in the lives of people all over India. It is of utmost importance that we as citizens of the world learn to grow spiritually in one way or another for the betterment of all mankind”

Mr Harry Darsono
Ph.d., Fashion Museum owner and popular fashion designer

“India is the mother of all cultures. She reaches out as a home to various people all over the world. India serves as a beacon of hope in a world that is plagued by violence and mistrust”

Prajna Murdaya
major importer of sports goods

“It touches me to see such a large amount of diversity in a land such as India. The beautiful colours and festivals have touched me in a deeper way that words cannot express”

Mrs Nevtia Hatta
Minister for Women’s Welfare

“There has always been a strong connection in history between India and Indonesia. We have great similarities in culture. This film has brought me closer to India and I will highly recommend this to all that I meet”

Murdaya Widywimarta
Member of Parliament

“I would recommend this film to anyone. We have a lot to learn from the life and journey of Neelkanth. I am simply amazed at everything India has to offer through this fascinating film”

Mr Peter Elliot
President and Chief Corporate Officer, Citibank Indonesia

29 Ambassadors of different countries at the premiere

Algeria, Austria, Argentina, Bangladesh, Bosnia&Herze, Croatia, Cuba, Cambodia, Egypt, Greece, Hungary, Iraq, Korea, Kuwait, Mexico, Morroco, Mozambique, Nigeria, Palestine, Peru, Poland, Suriname, Sudsn, Somalia, Syria, Thailand, Turkey, Timor Leste, Zimambwe.

Grand New Zealand Premiere of Mystic India

24 October 2007, IMAX Theatre on Queen Street, Auckland, New Zealand The Grand New Zealand Premiere of Mystic India took place on 24 October 2007 at the IMAX Theatre on Queen Street, Auckland, New Zealand. The IMAX Theatre is located in the heart of the city and it is one of the star attractions in Auckland with a giant screen that measures 68ft. by 89ft. The guests arrived at 7.00pm and were escorted through a traditional mandap set up specially for the Premiere night. The waiting area of the theatre was transformed into a mini- India with richly decorative arts and antiques. The rangoli design in particular was eyecatching and very impressive. As the 300 guests arrived, they were warmly greeted by the children of BAPS clad in traditional costumes and the showering of flower petals. Young boys and girls then tied a nadachhadi to each and every guest while explaining the significance of this ancient custom. The guests were highly impressed and appreciated the traditional atmosphere that greeted them. The ambience was further enhanced with the sound of live Indian classical music. The High Commissioner of India, K.P. Ernest attended the evening festivities and welcomed the film in his brief greeting to the audience. He thanked the efforts of BAPS Swaminarayan Sanstha in not only producing the film but for promoting sublime humanitarian values in society. Dilesh Patel, on behalf of the producers, briefly outlined the voluntary effort of BAPS and the context under which this film was produced. The Honourable Anand Satyanand, Governor-General of New Zealand, mentioned in his message, “It is with regret that I am unable to attend tonight’s Premiere of the award-winning movie, Mystic India, due to a prior commitment. Mystic India allows the viewer to rediscover the land of mysteries, the land of the world’s highest peaks, the Himalayas, and the land of ancient wisdom, culture, civilisation and spirituality.” Honourable Helen Clarke the Prime Minister of New Zealand also sent her greeting which was then read out,”I know that this film follows the journey of Nilkanth who traveled solo across India more than 200 years ago. The message of the film, that we are a single human family despite our cultural or ethnic differences, is a very important one for all us to keep in mind today.” The General Manager of Sky City Cinemas Mr. Matthew Liebman mentioned in his address, “I am very impressed by the dedication of BAPS volunteers who have shown tremendous creativity through the decorations here tonight. The IMAX Theatre has never looked so good”. The following are some of the opinions of the guests: “The title is appropriate. India has so much to offer, particularly the history. I think it’s fascinating that so much has been covered in a short documentary. I would recommend anyone to go and see it. It has a powerful message and we can all learn. When you look spiritually you can see how India has survived for so long. I will recommend to my children and hope we put them on the path that there is a spiritual India – one that can be enjoyed by anybody, any race and any colour. India will always exist and that to me is the most powerful message of this film”. Mr. Deepak Patel Former New Zealand Cricketer “It was brilliant. I thought the movie was beautiful and very inspiring. Congratulations to everyone involved with it. What I find most inspiring is that so much of it has been a voluntary effort, a beautiful expression of service to humanity. Very well done and thank you for inviting me here tonight. It’s an inspiring reminder of humanity” Mr. Mark Broadwaithe Principal of Ficino School in Auckland

Mystic India Premiere in Philadelphia-USA

Saturday, 8 November 2008

The newly renovated Benjamin Franklin National Monument welcomed the premiere of Mystic India to The Franklin Institute Science Museum in Philadelphia, Pennsylvania, with a day of sights, sounds, and tastes of Indian culture for everyone to enjoy.

The waiting area of the theatre was completely transformed with richly decorative Indian art and antiques. The guests were highly impressed and appreciated the traditional atmosphere that greeted them. The ambience was further enhanced with the sound of live Indian classical dance and music.

Participants of all ages enjoyed the many interactive cultural activities and performances. Young children had fun coloring in festive Indian rangoli patterns. Older children tried playing different Indian instruments and learning about Indian classical music notes.

The guests were enthralled by the inspiring story of Neelkanth, the sights, the sounds, the colors and the awe-inspiring festivals of India, beautifully depicted on film. They left the theatre with many praises not only of the breathtaking cinematography but how it changed their understanding of India’s message of ageless values for all of humanity.

“We visited India but when we saw the movie we just wanted to go back again (to visit India) because there were so many other things that we missed and did not see,” said Sarin Peng.

Ralph Davidson said, “I was very impressed with the spirituality of the entire nation and the way they expressed their spirituality. The one line that I kept remembering about India was Diversity. They accept that, and it is common to allow people of different beliefs so we can all live together. That was very powerful.”

Salin Dalal said, “It made me feel very proud to be an Indian. I feel so inspired that every Indian in this country should buy ten tickets and see it with their friends and neighbors. It’s something that the whole world needs right now.”

The event was thoroughly enjoyed by all.

Mystic India Premiere in Perth-Australia

Friday, 28 November 2008

 More than 450 invited guests attended the premiere of Mystic India (35 mm version) at the Greater Union Cinema in Perth, Australia, on Friday 28 November 2008.

The guests were greeted harmonious melodies of the sitar and tabla performed live by artistes amid traditional settings. The entrance foyer was beautifully adorned with colors of the Indian flag where children greeted the guests in traditional manner by showering  rose petals. Then, as a mark of friendship the youngsters of BAPS tied a nadachadi (sacred wrist band) on each guest.

Also, inside the foyer was an array of artistic Indian rangoli designs and a traditional kathak dance.

Kunal Patel, the emcee for the evening, started with a prayer for the unfortunate victims of the Mumbai attacks that had devastated India just two days before.

The Chief Guest of the evening, the Consul General of India, Ms. Sushma Paul, expressed her gratitude to the BAPS Swaminarayan Sanstha for the production of a film that so truly depicts the very essence of India and more importantly, offers an idea for peace.

 The Honorable Mr. Colin Barnett, Premier of Western Australia, sent his regards stating, “I congratulate the Swaminarayan Sanstha on its contribution to Western Australia’s vibrant cultural and religious life and for making such a positive and beneficial difference to our community”.

Distinguished guests Albert and Florinda De’ Cruz mentioned, “We hope the message of the great Swami will permeate our society so that we can live in peace and tranquility in the knowledge that truth and good will always prevail.”

The event was thoroughly enjoyed by all.

Adelaide Premiere of Mystic India

 10 June 2009 

Capri Theatre, Adelaide, Australia

On the evening of 10 June 2009, Mystic India premiered in the heart of Adelaide at the Capri Theatre – a traditional-style heritage theatre built in 1941. This was the fourth Australian city in which Mystic Indiahas premiered, following on from the film’s success in Sydney, Melbourne and Perth.

                    

The 375 invited guests were warmly welcomed by young children of BAPS Adelaide, who were dressed in traditional Indian costumes and dresses. As they tied the nada-chhadi and explained its significance as a knot of friendship, the guests were fascinated by the confidence and politeness of these young volunteers. The lobby and corridors of the Capri Theatre were transformed into a visual delight of Indian arts and crafts, musical instruments and symbols, such as the beautifully decorated rangolis. Classical Indian tunes filled the air and as one guest put it, “It’s like you’ve brought India to Adelaide.”

Among the VIPs and guests present were the Mayor of the City of Adelaide, Mayors of others councils of Adelaide, MPs, media representatives and business leaders. The Premier of the State of South Australia, Mike Rann, sent a letter of support for Mystic Indiain which he also commended the work of BAPS in Australia.

After viewing the film, the invited guests appreciated Mystic India’smessage of unity in diversity and cherished this unique experience of an inspirational journey through India. The Adelaide Premiere ofMystic India was followed by four scheduled screenings which captivated a total audience of almost 1,200.

Mystic India Teacher's Guide

Mystic India For Teachers

"India is an epitome of the whole world and posses all the leading features of other lands - the most bewitching scenery, the most fertile soil, the most dense forests, the highest mountains, some of the biggest rivers, and intensely cold seasons may be found along with arid, treeless deserts, sandy waterless plains. Our most valuable and most instructive materials in the history of man are treasured up in India."

-Mark Twain

 Teacher's Guide

Mystic India Behind The Scenes

| The Story | The Medium | Research & Story development | The Crew |

| photo gallery | The Locations | Production Design | Casting | 570 Volunteers | | Principal Photography | Music | Post-Production | photogallery |

The Story  BAPS, an international NGO, has a rich experience of presenting Indian culture to over 55 million people worldwide through its 9 cultural festivals and 3 permanent exhibitions at Akshardham –Gandhinagar and Shri Swaminarayan Temple - London and Nairobi.  As part of its continuing activities, In early 2001, BAPS decided to make a film that would show the true wealth of India – its culture, its heritage and its wisdom. To make the film more interesting and take the audience into it with a story, it was decided to present India through a unique inspiring person – Neelkanth. This would give the opportunity to present a docu-drama rather than a documentary. Neelkanth, the child yogi, was born over 200 years ago. Neelkanth renounced his home at the age of 11 and walked across India for seven years. This gave the opportunity to film across India, showing its diversity and its binding threads, through the unique and interesting story of Neelkanth traveling all alone across these 8,000 miles. The story was decided, now the medium had to be specified and planned . . . . The Medium Since the best picture and sound would be possible in large format film, it was a foregone conclusion that this clear and crisp ‘large-format’ film would be the best medium to use. Large Format film is 70mm film on which each picture is eight to ten times bigger than normal 35mm film, which means a clearer projection on a much larger screen – up to 100 feet high. This is a difficult medium to film in, because of the clarity and depth of the film, which makes it more challenging for the cameraman in getting the right frame. Very few stories have been filmed in large format, because of this difficulty and hence a higher expense. Even BAPS was able to afford this filming only because of the volunteer effort, without which this film would not have been possible. The Beginning Thus began the challenge of producing an large format film. It kept a BAPS professional team and experienced industry crew busy for the next three years with the planning and execution of this film. Right from Authentic research (on India and Neelkanth’s story) to Story & Script development; from Location search to Shot design; from Production Design to Shooting Logistics; from Editing to Music, each and every BAPS volunteer took up the large format challenge. The first step, of course, was the research on India – the India of today, the India of 200 years ago, and the India of centuries ago. Research & Story development India is an ancient civilization with contributions in all spheres - from science to art, language to mathematics, philosophy to chemistry. Research into these fields was carried out by a team of BAPS historians who referred to old texts, met other experts, went to many ancient sites. Research on the central character of Neelkanth was conducted with 200 year old books and illustrations of those times. These BAPS researchers spent one year referring to more than 270 books in 17 libraries and private collections. Since this film was based on a true story which took place 200 years ago, the authenticity factor underlined everything. Prized resources included the original books and drawings published by the British Government and books of other explorers who traveled through India at that time. Apart from research for the story development, the costumes and settings had to reflect the people and places of 18th century India, to transport the audience back in time. The BAPS researchers took every detail of what villages, clothing, and monuments looked like 200 years ago. Many hundreds of hours went into this research. The research was done, now we had to look for the right professionals to shoot the film and the right locations where to film... The Crew BAPS extensively researched historic manuscripts and briefed the complete story to Kamlesh Pandey. Using this brief with the authentic documentation, research papers and historic manuscipts, scriptwriter Kamlesh Pandey crafted the original Hindi script. Nearly 100 large format professionals were consulted. After this worldwide search of meeting Directors, DPs, post-production Laboratories and many other professionals, BAPS brought on board Director Keith Melton, Director of Photography Reed Smoot and Writer Mose Richards. Each of them well known in the industry and with years of experience with large format films. Later, Music Composer Sam Cardon, with nine large format films to his credit, added to the high quality team making this film. With BAPS acting as overall Producers of the project and providing key infrastructure and logistics, including research, art department, wardrobe, locations, legal, casting, and volunteer support, this high quality team of large format film industry experts provided guidance and expertise to make this a high-value production. They were, of course, more than ably helped by the large-format experience of the USA crew, brought together by Keith Melton. With people like Reed Smoot (DP), Neal Allen (First AD), Bobby Adams (Grip), Dennis Peterson (Gaffer), Scott Hoffman (First AC), Tim Lovasen (Second AC) . . . the crew was a top-notch team from the large-format industry, with the experience of an average of seven to ten films each, and many years of work in the industry. While the crew was being selected, work on scouting for locations was also in progress. . . . The Locations For a period film, and an large format film at that, a location has to be as far away from ‘civilization’ as possible, so that no electric cables, telephone poles or modern homes are visible – and yet be near an easily accessible road so that it doesn’t take time to reach and set up the shots. These opposing requirements were only part of the constraints for the location scout. A team of BAPS volunteers scouted more than 250 locations through out India – from Nepal to North India to Kerala in Southern tip of India, from Gujarat to Assam, covering more than 22,000 miles! Simple things like finding a location with an isolated Banyan tree without electric cables or poles nearby took days of scouting in remote villages. This was done in the scorching summers when the temperatures were often higher than 110 degrees Fahrenheit. After the locations for different scenes were decided, the shots had to be set up to ensure that no modern objects were visible. This was where the Production Design department came in. Production Design Production Design for a period film is as difficult as the location search. Once selected, the locations had to look as the scene would have been 200 years ago. Therefore, a mammoth effort was undertaken by BAPS to re-create many locations to look as they were 200 years ago. Mud huts, thatched roofs, wooden doors, oil lamps, ox-carts... many constraints had to be kept in mind to recreate India of two centuries ago. BAPS’ Art Directors and Designers researched these places to get the exact measurements and design details, old photos and references, and local opinions on older structures. All of this was converted into computer drawings. A team of 200 volunteers consisting of engineers, artists, welders, and carpenters worked on the production design to make it feel authentic enough for the clarity of an large format screen, which would show each detail clearly on a large screen. The town of Neelkanth’s childhood, Ayodhya in Northern India, was visited by the BAPS designers. They mapped out the current town, its streets and the course of the river. Then researched locally on the houses which used to stand 200 years ago – locating the neighborhood sweet shop, the nearby temple, the street’s largest house . . . . and then sketching the area as it was, 200 years ago at the beginning of Neelkanth’s journey. The sketch was verified by history professors and an architect for historical accuracy in the design and materials that would have been used in Neelkanth’s time, and then converted to computerized plans for the set construction. The drawings were then converted to huge three-dimensional sets, three streets of old Ayodhya, seen for the first time as they would have been two centuries ago. Every detail including the intricate peacock design on top of the wooden frame of the sweet shop’s door had been researched, drawn, computerized and then finally made in wood, brick and plaster! The same attention to detail and readiness for hard work also showed in the selection of the central cast and the costuming. Casting  As the central character and a representative of India’s mysticism in the film, Neelkanth had to look the part. The real Neelkanth, 200 years ago, had been thin and starved himself as part of his ascetism, yet had bright eyes with love, confidence and courage shining through. Searching for the same look entailed a huge search stretching across the country, videotaping 11,000 children throughout India and finally selecting the two who play younger and older Neelkanth. The call sheet on 08 February 2004 showed a cast of 20,000 children to be filmed together at Akshardham in Gujarat. This was a unique voluntary effort – a children's voluntary convention where they gathered from different regions and different economic backgrounds to reinforce the message of Unity in Diversity. First AD Neal Allen said, “This is unimaginable in the film industry. Only BAPS can do it”. While this was the highest cast assembled for any one scene, the Akshardham Arti scene had 9,000 cast while the Rath Yatra scene had 8,000. With a total cast of 45,000, Mystic India had the biggest cast ever in any large format film. Director Keith Melton said about the huge 8000 cast, at the end of the Rath Yatra scene shoot, “Were it not for the wonderful discipline, cooperation, patience, and dedication of the BAPS extras, this moment would not have been possible.” Participating as actors was only a small part of the work that BAPS volunteers performed – they managed most of the film’s production and other departments . . . . . . 570 VolunteersMystic India is unique not only because it is the first large format epic on India, but because of the way and the spirit in which it was made. Volunteers donated their time and efforts selflessly for this film, free of charge. Professional, engineers, doctors, students, businessmen and government officials – all took leave from work or school to help create Mystic India. All the work added up to a mammoth One Million man-hours over two years, which were all volunteered free of charge by these professionals. A networking scientist took a three-month leave from his job at the Indian Space Research Organization (ISRO). A visual arts student took a year off from university in Nottingham, England. An advertising expert quit his advertising job for one year while a young transport business owner delayed his marriage plans till after the shoot. The list would be endless . . . . . Each of these 570 volunteers made their best contributions, yet chose unanimously to remain unnamed in the film’s Credits – they were not working for money or fame, but for this epic film about their country. The film does not name any of them in deference to their wishes that their service to India as a country and Mystic India as a representative of their culture remain unnamed. Principal Photography Once the planning for the film was done, the actual shoot began . . . with its daily challenges and changes in spite of the detailed planning. Principal photography began in Pokhara, Nepal on March 5, 2003. Beautiful aerials of the Himalayas were captured. Many of the shots show Latesh Patel with nothing on but a dhoti (loin cloth) in the freezing temperatures, a pebble in his surroundings at 13,000 feet. In preparation for the snow shots, ten-year-old Latesh spent two weeks training and acclimatizing near Everest Base Camp. The next scene of Akshardham Arti scene was filmed over two days. On the first day, a shot was needed that included about 9,000 volunteer extras holding lit lamps and singing in unison as the sun was setting. With each candle lasting 20 minutes, and with a perfect “shooting window” of only about 10 minutes, everything had to be exactly in place. A massive crane shot, the logistics and choreography of getting 9,000 candles lit at the same time, people moving and singing in sync, had to be carefully coordinated. Many other shots presented different challenges – how to maximize the impact of the Sun Temple with its large pillars and deep stepwell in front; lighting up a 200 feet street set at Ayodhya for a rainy night scene; shooting from a boat in rapid river water. Another scene of arti at Haridwar in North India was shot throughout the night, with over 500 extras staying awake till dawn for the shoot. After 9 weeks of continuous shooting, phase- 1 principal photography came to an end. The next phase of shooting began on January 26, 2004 in Jaisalmer, the city of golden sands and stone in Rajasthan. This second phase of shooting took place at more than 50 locations in Rajasthan, Gujarat and Delhi. This shoot had a unique and very exciting shot of 20,000 children at Akshardham singing the National Anthem with Indian tricolor flag in their hands. The shots at Jaisalmer with 5000 extras and Sarangpur with 3000 extras were equally exciting. This shoot involved extensive traveling. The crew traveled more than 6500 kms in 21 days of shoot – an average of 310 kms a day! Another additional phase of filming was the still photography undertaken for panoramic panels which are part of the film – for Art and Architecture photos, a three-man crew traveled with large format still cameras an additional 7000 miles, by road, presenting four unique art and architecture panels in the film, with 300 unique photos of amazing architectures of India. This also yielded the over 250 ‘faces’ of India stills – shot across India to put together the diverse looks of India, united in this film. Remote locations like Muktinath in Nepal and mountain lake Devariya Taal, which is accessible only by trekking, were also included in this phase. For everyone involved, the whole shoot was a unique experience and had a never-before outcome. Director Keith Melton says, “Mystic India has an amazing visual panorama. The audience will experience a unique, multi-layered view of India that is both intimate and spectacular.” It was then time to compose similarly unique music to uplift and highlight the strong visuals... Music The music, like the rest of the film, is a fusion where East and West harmoniously and seamlessly meet. The composition too was a meeting of West – Sam Cardon and East - Ronu Majumdar. Composer Sam Cardon enjoyed the experience of learning about Indian instruments and ragas and incorporating western symphony into the score with the Indian music. After many meetings to design the appropriate music with the BAPS team and Ronu Majumdar, all experts in Indian music, the theme and score was designed. After including music from various regions of India, different instruments were recorded by some of the best artistes of India under the supervision of BAPS volunteers at Mumbai and Ahmedabad, and the western symphony at Seattle. Around 60 different artists were recorded for authentic Indian music providing traditional classical Indian music – with unique fusion of a 75 piece western orchestra of Seattle. Indian and western music was mixed at Salt Lake City with experienced mixing engineers helped by BAPS volunteers on Indian parts. Incorporating this music, sound and visual effects was then part of the post-production... Post-Production David Bartholomew worked enthusiastically on getting the negatives to see the light of day – making positives and checking the film, often marveling at the quality of the shots and calling up India enthusiastically just to praise the scenes, the sets and the splendid camera work. Visual effects also added some magic to Mystic India. The  still transparencies of monuments and shrines and tourist interest places were scanned at BAPS facilities. All the graphics and compositions were prepared by BAPS. Amalgamated Pixels of LA applied their expertise and combined knowledge to the exercise of merging the film with visual special effects and stills. Michael Morreale of Amalgamated worked hard at transferring the digital files of high resolution onto large format film which could be projected to large format size and adequately showing their splendor and majesty. One of the most innovative shots, utilizing traditional and next generation filmmaking techniques, was the 360-degree yogic posture shot. The scene shows Neelkanth, in the changing seasons, growing older on screen. All the while, the camera is slowly circling around him as snow falls, followed by rain and lightning, the growing of flowers and the flying by of butterflies and birds. Green screen shots were filmed in Ahmedabad, India. The background plates were shot in Nepal. The whole scene was put together in Los Angeles, California. This film is a true worldwide effort of talented filmmakers to bring India to the eyes of millions.

Mystic India Unique Features

A large format Epic on a scale never seen before. A period film that transports you back to 18th Century India. Experience India's intricate architecture, colorful festivals, traditional rituals, fascinating peoples and landscapes. A land of ancient civilization. An amazing true story that has the power to inspire millionsacross generations. 11-year-old child, 7 years, 8,000 miles, one incredible journey. Filmed in over 100 locations all over India, from the freezing Himalayas to the scorching deserts. A cast of 45,000.

Mystic India About the film

Mystic India rediscovers India, a land of many mysteries and fascinations, the one land that all desire to see. Home of the Himalayas, the tallest mountains, India is our world's largest and oldest democracy, and contains an amazing wealth of wisdom, culture and spirituality. And within this earliest civilization known to mankind, lie hidden mystical secrets. It lies hidden in India’s silent spirituality, making her a mystic land of meditation, contemplation and enlightenment.

For thousands of years, many have willingly left the comforts of their home and family and set off across this spiritual land in search of these secrets. Their aim has been to reach a deeper understanding of existence and share the meaning of life that would elevate the rest of humanity. Of all such journeys, perhaps none is greater than the true story of an 11-year old child yogi, Neelkanth, who took an extraordinary journey through the wonders of mystic India. An adventure of hardships and survival, faith and fearlessness undertaken by a child. The only one of its kind in the history of mankind.

From 1792 to 1799, Neelkanth walked alone, barefoot and barebody, 8000 miles for 7 years through the length and breadth of India. Carrying no maps, no food and no clothing, how he crossed the roaring rivers, faced ferocious animals and survived the freezing winter of the Himalayas, is still a mystery. It is a story of struggle, of kindness and of courage even when face to face with a man-eating lion

Mystic India takes you through icy peaks to the cool blue Lake Mansarovar, into the wild jungles of Sunderbans and the rainforests of Assam, through barren deserts and to the silent shores of South India. Explore and learn from the majesty and mysticism of India's art and architecture, music and dance, faces and festivals, customs and costumes which are brought to life on the giant screen.

This entertaining, educating and enlightening giant screen film (15perf/70mm) rediscovers India, a land of many mysteries and fascinations. It is the world’s first large format epic on India. A period film set 200 years back in time, it retraces the incredible journey of an 11-year old child yogi, Neelkanth. In 1792 AD, he walked for 12,000 km continuously for 7 years, barefoot and barebody, through the length and breadth of India, from the Himalayas to the southern sea-shores. Based on this inspiring true-life story and journey all over India, the film explores unique elements of India, like:

Amazing and intricate art and architecture, symbolizing creativity of centuries… Fascinating festivals, among the largest and most spectacular in the world. Colorful customs and intriguing rites and rituals with deeper meanings for peaceful living… India as an epitome of the world with its natural and geographical diversity containing nearly every kind of habitat on earth. World’s oldest and largest democracy with one of the world’s most diverse peoples living together, with every shade of skin and a vast variety of cultures. India’s contribution to the world including concepts like Non-Violence and practices like Yoga and Ayurveda for natural health… A nation of silent spirituality, making her a mystic land of meditation and contemplation, where quest continues to understand secrets of life beyond our material world The real light and wisdom of India, seeking to know not how to conquer the world but how to live in peace, how to live together in harmony The essence and message of “Mystic India” that there can be Unity in Diversity, that we are a single human family, capable of living together, loving one another. Thus, more than just a breathtaking journey, and the heroic tales of the child’s tolerance and survival, his values of faith, friendship and fearlessness, the film presents a unique journey into the mind and soul of India through the eyes of an innocent child. Over two shooting schedules in March - May 2003 and Jan-Feb 2004, the Mystic India production team traveled to more than 100 different film locations in India, at times shooting in hostile conditions at a height of 13,000 feet, re-creating the adventures of Neelkanth in the astonishing detail of large format. Capturing dazzling images and scenes on a scale never seen before in large format, this film transports the audience to some of India's most sacred and treasured destinations. The epic proportions of the film climax in the Rath Yatra (The Festival of Chariots). Colossal, 5-storey high chariots on mammoth wheels roll past 8,000 people in period dress of the 18th century from all corners of India. The experience is immense and intense. And what makes the film unique and educative are the questions it answers about India, her culture and way of life. Even the silent, meditative moods transmit the simple messages of love, service and harmony; unraveling India's greatest gift to the world, its unity in diversity. Mystic India is an epic journey into the land and soul of India.