Once upon a time, there lived a mother. His hair was matted and gray. His eyes were wild and bloodshot. Their songs were wild and hopeful. “Mera beta aayega …,” she said, while shuffling around. His feet were thick chained for 25 years. It sounds a bit like Karan Arjun, but this is Baahubali of SS Rajamouli. And despite the cliché some of its elements can be, this film is the work of the wildest imagination of South Indian cinema and takes steps to mythical proportions in the imagination of India.
Baahubali is pure, amazing, hypnotic show. Published simultaneously in Hindi, Tamil, Telugu and Malayalam, the budget of the film is a whopping 200 crore rupees, which is the most expensive film made in India. Judging by the sheer grandeur, it is not surprising that Karan Johar did with the Hindi version.
The real name of the hero is Shiva (Prabhas Raju). He has the strength to carry a great lingam of Shiva and raise a golden statue 450 feet high. He can dislodge huge rocks and use one as luge when an avalanche chasing him and his beloved. It is no wonder then that the greatest warrior of the earth making a slide Michael Jackson-style knees and bow to Shiva with a cry of worship “Baahubali!”
A frame Bahubali. A frame Bahubali.
But first, Shiva to display his genius. So it makes the dangerous climb to the kingdom of Mahismati court Avanthika (Tamannaah). She is a vision in white. No, she is not Mandakini of Raj Kapoor, but wuxia-inspired heroine, beautifully framed shots captivating under waterfalls. When Shiva does find it, she attacks him with a sword. This leads to a similar dance duel, beginning with her undress and ends with his love. Naturally.
But Shiva has ordered more to him than just getting the girl. He does not know, but the old woman waiting for her son is actually her mother, Devasena (Anushka Shetty).
Devasena is held captive by the well-oiled, evil king, Bhallala Dev (Rana Daggubati), who had once rejected and who just happens to be the uncle of Shiva. Bhallala delights in torturing Devasena. She collects firewood for his pyre.
Initially, Baahubali works as a musical, the establishment of Shiva and romance of Avanthika in the most extravagant sets and exotic lands. The real fun and the action starts later, when Shiva is told his father, Baahubali Amarendra and rewinds the frame to a world of intrigues and war.
Sivagami see a majestic throne but discarded as refuse queen, while sitting in the seat of the ruler with two infant babies under their pallu. One is his own son, Bhallala. The other is the father Shiva. Years roll on, guys become well adapted, powerful princes. A fierce enemy attacks tribal and a spectacular battle continues.
This is the point where you forget the story. It is not weak, but not really matter Baahubali Look for movements. The hero gets on a horse in the middle of a crowded battlefiend, the camera takes the picture closely, and VFX power techno at its most impressive. The soundtrack of M. M. Kreem, one of his best, sets the mood and match the growing movements of ballet of action.
Action, camera, visual effects, sound – it’s a magic formula Baahubali. In particular, during the war with the primitive and terrible Kalakeyas (for Rajamouli who has invented a new language. Take that Dothraki-fans), the technological sophistication deserves applause. The camera plays eagle to reveal a huge aerial view of men on horses racing against men in the feet. An impressive side angle shot silver arrows in one line sets the ball rolling. The background score continues to add to the magical visual display.
And there are the disturbing shots that Rajamouli woven into his narrative, as the sight of a headless body of stumbling on a cliff, in a context of apocalyptic storm clouds.
But in reality, forget history. In Baahubali, see the movements.
