Big need not always be better but ‘Bahubali’ certainly is bigger and better in its imagination and execution. If ‘Magadheera’ served as an introduction to Rajamouli's bravery, ‘Bahubali’ opens up as his main chapter. When a slightly grey-haired Rana Daggubati takes on a bison, I imagined Rajamouli taming a century old culture of filmmaking in India. He succeeds whimsically even with several loopholes under his supervision.
*The story has spoilers. In case you haven't watched the film yet, please come back to it later.
The story that is put on paper is partially extraordinary, all the same there’s nothing novel in its bone. However when Rajamouli makes a film, he wraps his narration with a magical vest that only he knows too well about. He does it here again.
Though the initial portions of the film seem like an unoccupied luxury resort, one cannot for a moment longer, stay away from the happenings on the screen. It’s hard for anybody to buy Tamannaah as a warrior. It’s not the question of prettiness but the lack of finesse that puts an end to the thought of her as a fighter with a sword. Romance is a denominator required for every individual, however, I’m not game for watching romance in K. Raghavendra Rao’s style in an environment that houses ‘Baahubali’. 'Pacha Bottesina' slowly squeezes out the pulp from the fiction. The grungy act in this portion thus allows the viewer to indulge more in the next act involving the cousins – Rana and Prabhas. No need to worry anymore. Phew!
And what a beast this Rana is? He’s the perfect thumbprint of Duryodhana, a schemer with great strength. He needs no more than a second to swallow up his foes. Since that won’t favor him always, he has to be content with swallowing his pride and anger. Baahubali or Hercules of the East is equal in vigor and a notch higher in valor. Prabhas’s subtle humor works in parallel with Rana’s controlled agony. They match each other’s performance superbly.
Everything, just everything, about the movie reaches the sky during the battle between Mahishmati and the Kalakeyas. The language of the Kalakeyas which depends heavily on tongue clucks is innovative and funny to an extent. There’s more… the armor, the battlefield formation, the commands, the intelligence of Baahubali, the shrewdness of Bhallala Deva, the inquisitiveness of Sivagami and Bijjala Deva, the loyalty of Kattappa, the fight choreography, the cinematography, the music and the neat vision of Rajamouli is what I’m confidently calling the signature of Indian cinema. This has never been done before and I’m sure that filmmakers in the future have to move mountains to usurp this spot.
Bring ‘Baahubali – The Conclusion’ soon, Rajamouli!
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