Professional Documents
Culture Documents
Music: M M Keeravani
As each of these characters reveal to what extent they can go for their
convictions, the actors’ real names seem like a blur. You’d rather give in to
their screen names and parts. Prabhas, Anushka and Rana get their career-best
roles. As the two Baahubalis, Prabhas is still lifting boulders, trees and
whatever mighty is in front of him to protect people who matter. He is regal
and assured as Amarendra and thirsty for revenge as Mahendra, learning war
tactics along the way. Rana is on a beast mode as the dark, ominous
Bhallaladeva.
It’s Anushka who’s a revelation. Not even in Rudhramadevi did she shine as
she does as Devasena. Thrown into an unenviable situation, she stands her
ground and questions the basic tenets of the kingdom. Her portions with
Sivagami (Ramya Krishna, once again aces the part) drive a chunk of the
drama.
Broadly speaking, Baahubali – The Conclusion is a tale of good vs. evil. Ever
since we saw Devasena in part one gathering twigs for a funeral pyre we
knew what’s in store. But within that framework are sequences that warrant a
suspension of disbelief and an intriguing match of wits. The film has several
of those, particularly the events that unfold during the crowning of
Mahishmati’s king. A hat tip to the team that made it possible, from
cinematographer Senthil Kumar to production department captained by Sabu
Cyril and the visual effects team.
For the most part, The Conclusion doesn’t let us take our eyes off the screen.
It’s designed to be a cinematic celebration, one that deserves to be watched on
the largest screen possible.
చితతత : ‘బబాహహుబల: దద కతకక
క్లూ జన’
సతగగీతత: ఎత.ఎత.కకీరవరాణణ
తతెలలగగ అని కరాదను.. తమిళత అని కరాదను.. హహతదద అని కరాదను.. దదేశతలల
కథ:
తతెలయని శివగరామి దగగ్గు ర తనకల దదేవసపననను ఇచిచ్చే పసళక్లూ చదేసక రానననే మయాట
తతెలలసనుకకోవరాల.
కథనత - విశశక్లూషణ:
‘దద కతకక
క్లూ జన’. ఒక రకతగరా చతెపరాప్పలతటట ఒక ససినిమయా ఇతటరజతల ననుతచి
పరరిచయత చదేససినటటు
క్లూ గరా బబాహహుబలని తతెరమీదకల తీసనుకలరరావడత..
‘దద కతకక
క్లూ జన’లల లలటటమీ లలేదను. హహీరరో తన వరాసక వ రరూపరానిన
‘దద కతకక
క్లూ జన’ చసూడకమగతదదే తమ ఊహాశకకకతత బబాహహుబలని కటట్ట పప్ప
ట రారరు చనలయామతదద. ఇక
ఎతదనుకల చతపరాడననే పతశనకల సమయాధననత కనిపసటట్ట శ
‘దద కతకక
క్లూ జన’ కథ మొదలలజైన కరాసపపటటకర దదనిపసజై పపతక్షకలలకక ఒక
పరరిచనడడు రరాజమమౌళ.
కరాకపపో తదే కటట్ట పప్ప బబాహహుబలని చతపప ససన తనలకకల ఎపసిసపో డ మయాతతత
కలలగగతతతదద.
జరరిగరదద అతతగరా ఆనదను. వనేరర ఏ ససినిమయాతత పపో లచ్చే చసూససినన ఇదద గగొపప్పగరా
‘బబాహహుబల: దద కతకక
క్లూ జన’లల ఉనననయ. అతదనులల మరరో మయాట లలేదను.
నటటీనటటులల:
పతభబాస గగరరితచి ఒకష మయాటలల చతెబితదే సరరిపపో దను. అతడడి నటన.. కషట్ట త
కతకక
క్లూ జన’లల చనలయా బబాగరా చసూపసితచడతతత మరరితతగరా ఈ పరాతతతత పపతమలల
అనిపసిసక నుతదద.
పతదరరిర్శససూ
క వీరరావనేశతతత డతెజైలయాగగలల చతెపపప్ప ససనక్లూ నో మయాతతత రరానన నిరరాశ
పరరిచనడడు. అతనను ఆ డతెజైలయాగగలల చతెపసిప్పన తీరరు ఇబబ్బతదదకరతగరా
అనిపసిసక నుతదద.
పరాతత పపతక్షకలల మదదపసజై బలమమమైన మగదత వనేసక నుతదద. ఇతదనులల కటట్ట పప్ప
సరాతకరతికవరగ్గు త:
సరాస్థియకక తగగ్గు టక్లూ టుగరా సరాగరితదద. రరాజ దరరాబ్బర తత పరాటటు అననేక ససటట్ట తట గక
కటటట్టపడదేసక రాయ.
విజవల ఎఫసకట్టక విషయతలల మయాతతత పపతక్షకలలల పసటట్ట టుకలనన అతచననలన
‘బబాహహుబల: దద కతకక
క్లూ జన’ అతదనుకకోలలేదననే చతెపరాప్పల. బబాగరా లలేవవ అని
What is it about?
Performances:
Prabhas who looked jaded and subdued in the first part is in his
elements in this one. His voice and demeanor suited the role of a
king. While he is extremely good as Amarendra Baahubali, he did
an okay job as Mahendra Baahubali. Rana is pretty impressive as
Ballala Deva who is jealous of Baahubali's charm and popularity.
He is like a raging bull in the climax fight. Anushka takes the cake
with a wonderful performance. It is easily the best performance in
her career so far. Ramya Krishna is superb as the mother caught
between two brothers. Satya Raj enlivened his character and
Nasser is excellent as Bijjala Deva.
Technicalities:
Thumbs Up:
Rajamouli's vision
Emotional quotient
Cinematography
Thumbs Down:
Weak climax
Analysis:
Tempo slips a bit after that as Baahubali gets into romance zone.
Devasena's introduction scene is yet another fantastic moment in
the first half. Romance episode of Baahubali slows down the pace
but the story gains momentum as Ballala gets into his evil act.
Baahubali taking on the attackers of Kuntala is one of the best
scenes which demands repeated viewings. Rajamouli like always
stores his best scene for the interval episode which will give
goose bumps. People shouting Baahubali's name while he is
taking oath as the commander in chief and Keeravani's
spectacular background score makes it one of the best ever
scenes in Rajamouli's films.
Having said that, the sequel, just like the prequel, starts on a strong note. Rajamouli
begins Baahubali: The Conclusion in flashback, showing Amarendra Baahubali’s
initial days as Mahishmathi’s king and how he fell in love with Devasena (Anushka
Shetty). And it is heartening to see that the film’s female lead, Devasena, has much
more power and agency than Baahubali: The Beginning’s heroine, Avanthika
(Tamannaah). Because even though Baahubali: The Beginning was a heart-
thumping heady ride, it had its disquieting moments: Tamannaah’s Avanthika was
almost used as a prop, her mission hijacked by Shiva; a romantic song, picturised on
the two, was problematic, for her consent wasn’t clear; the soldiers of the warring
kingdom, Kalakeyas, were black brute savages, reinforcing a colonial stereotype.
But Baahubali: The Conclusion sets those flaws right by making Devasena her own
woman. The daughter of Kuntal Desh’s king, Devasena is a fierce warrior, slaying her
opponents with ease, while maintaining her calm and composure, much like the
franchise’s heroes. She’s strong-willed, too, holding her own against Sivagami
(Ramya Krishnan), the matriarch and the queen mother, rejecting some
questionable practices of the Mahishmati kingdom.
There’s enough plot-wise in Baahubali: The Conclusion’s initial segment to keep you
interested. Rajamouli revels in Baahubali’s superpower: his hero crumbles giant
doors, pulls a huge chariot, tames elephants. The romantic subplot, too, is enjoyable
(and although its comedic track is a bit on the nose, there’s nothing here that’s
particularly jarring). Rajamouli, just like in Baahubali: The Beginning, keeps finding
ways to treat us visually, unleashing his untrammelled imagination on us with full
force. So a battleground scene has numerous bulls charging towards the Kuntal Desh
with flaring horns. Baahubali rescues Kuntal Desh’s subjects by opening a dam that
drowns the warring army’s soldiers. A few scenes later, a boat becomes airborne,
tearing through clouds, surrounded by cloud-shaped horses.
Rajamouli nails the macro – the battle sequences, the big fight, the hero landing the
blows, the villains flying in air, anything epic is underlined with a capital-E – but
seems indifferent to the micro: the small scenes that allow us to know the characters
better, the intimate moments between them. The latter is conspicuous by absence. In
fact, only one scene in the film – between Kattappa and Baahubali, moments before
the latter’s murder – carries true emotional heft. Otherwise, Baahubali: The
Conclusion is a litany of adrenaline rush, which is fine and enjoyable on its own
terms, but this would have been a better film had Rajamouli thrown some heart in
the mix, too.
But it’s notable and impressive that Baahubali: The Conclusion is tonally consistent
– not just with this film but also with its prequel. K.V. Vijayendra Prasad (who’s
written the story) and Rajamouli (credited with the screenplay) smoothly make the
film transition from one part to next, giving every subplot its due, every character
motivation its adequate reasons. No part of the plot is played for shocks or results
from lazy writing. Even the most important and dramatic revelation, the first film’s
cliffhanger, is believable. And with the exception of one bit that feels contrived,
Sivagamini realising her mistake, the rest of the film is marked by sure-footed
plotting.
The fact that both Baahubali films are riveting and enjoyable should act as a wake-
up call for some Indian filmmakers, especially those known for making tedious
actioners. Because, unlike their films (centred on cops, gangsters,
hitmen), Baahubali is set in a make-believe world, employing the same
melodramatic tropes, especially in action sequences (a hero vanquishing scores of
opponents, all by himself), and yet Rajamouli’s is a more believable, more enjoyable,
fare.
And it’s so because Rajamouli assiduously sweats the small stuff. In the world
of Baahubali, even the action sequences are laced with reasons. The characters’
modes of attack – such as an ingenious sequence in the film, where Shiva’s soldiers
are launched into the Mahishmati kingdom on the back of palm trees – are inventive
and original, sucking us deep into this world, keeping us hooked, making us care. It
also helps that Rajamouli unabashedly adores his heroes, presenting them as beings
capable of anything. They uproot trees, tame elephants, crack bricks, rain arrows. He
shoots his action sequences (K. K. Senthil Kumar’s cinematography is brilliant) like
someone would choreograph songs. Nothing is ordinary; everything is elegance
personified. Shiva and Baahubali gracefully slide onto the ground after a huge jump.
They wield their quivers and swords like a musician holding a violin. Blood almost
always drips slowly; sometimes it runs in rivulets. Baahubali is, of course, an epic, so
not every film can follow its model, but Rajamouli has at least paved the way,
showing how even violence can be lyrical, that inventive imagination can bend and
break barriers.
Both Baahubali films, though, make for strange bedmates. Baahubali: The
Conclusion is superior to Baahubali: The Beginning – in terms of plot,
characterisation, VFX, even dubbing (the prequel suffered from some awkward
translation) – and yet, the first, deliriously original and new, was more enjoyable,
hitting us like a sack of bricks. Baahubali: The Conclusion hits us too, but some of
the impact is diluted by familiarity. It isn’t Rajamouli’s fault though; he, and his
team, should go home proud. The kingdom’s been conquered.
Saibal Chatterjee
Baahubali: The Beginning, with its intriguing open-ended climax, had wound up with a
teasing, million-dollar question: why did Katappa kill Amarendra Baahubali? Why indeed
would a loyal soldier have betrayed his beloved master, we were left wondering. The
Katappa conundrum whetted the curiosity of Baahubali fans and fanned a rare degree
of craze, turning the follow-up into one of the most anticipated films in the history of
Indian cinema. So here finally is the film that contains the much-awaited answer. The
bigger question on our minds as Baahubali: The Conclusion unfolds is: is the sequel
worth all the brouhaha? The scale and sweep of the no-holds-barred fantasy epic set in
a spectacularly garish fictional kingdom are expectedly phenomenal. It is the riot of
colours, the robotic action, and the resultant kinetic heat that are a strain on the senses.
They suck the air out of the nearly three-hour-long film and turn it into a limply
mechanical show of superficial wizardry.
Baahubali: The Conclusion is a film that is so in awe of its own grandiose canvas that it
tends to lose sight at times of the need for tighter editing and more believable
characterization. Just about everything in the film falls prey to the lure of excess. It has
several flamboyantly mounted passages that drift in the hope that the 'magic' of the
visuals would be enough to keep the audience from noticing the film's over-indulgent
strain.
Baahubali 2 Movie Review: Prabhas in a film still
Baahubali 2 is blindingly flashy, overly dramatic and mightily entertaining (if you dig
flying arrows, flashing swords and rogue bull-taming warriors). The members of the cast
go along with the frenzied flow of the story. Prabhas and Rana Daggubati, all brawn and
bravado, are suitably muscular, Anushka Shetty goes convincingly from being pretty and
peppy to being traumatized and worn-out, and Ramya Krishnan, Sathyaraj and Nasser
are easily excitable and prone to bouts of loud theatrics. It's a world where everything is
doled out in smothering bushels. Be very, very impressed!
But are we? For all the stunning imagery that writer-director S S Rajamouli and his army
of VFX artists have put on the screen, Baahubali: The Conclusion is ultimately only a
lightweight yarn buttressed by flashy technical inputs designed to dazzle and disarm the
audience.
Parts of Baahubali do just that, but as was the case in the first installment, the battle
sequences are interminable and fatiguing. The film as a whole, and not just the all-out
climactic war that breaks out between a good army and an evil one, demands an awful
amount of suspension of disbelief. Especially superfluous are some portions of the love
story involving Amarendra Baahubali (Prabhas) and a beautiful princess Devasena
(Anushka Shetty). They render the first half exasperatingly sluggish. In the second half
the film gathers some momentum but never manages to free itself from the spirit of
randomness that informs its core.
If one were to take a more critical view of the film, Baahubali, both The
Beginning and The Conclusion, represent status quo cinema at its most brazen. It
propagates archaic notions of the divine right of the ruler and the inescapable fate of the
ruled - "mera vachan hi mera shaashan hain (my vow is my royal diktat)", both Rajmata
Sivagami (Ramya Krishnan) and Mahendra Baahubali (Prabhas) declare at different
points in the film.
In Rajamouli's universe, the royal brood occupies a higher moral plane than the people
that they govern and it, as a matter of right, thrusts its religious rituals - one of which
requires the queen to walk all the way to a temple many furlongs away with fire on her
head to ensure the kingdom's invincibility. Through the film, there is talk of agni
prasthan, Vijayadashami, Krishna puja and Vaastu dosham, among other loftily pure
notions and it travels from the top down. The people of Mahishmathi, including the
brave and invincible Katappa, are a subjugated lot - they swear unquestioning and
unswerving allegiance to the king. The only distinction that they make is between good
and evil. Baahubali is good, Bhallala Deva (Rana Daggubati) isn't. No other nuances
are allowed in this cut-and-dried landscape.
Baahubali 2 Movie Review: Rana Daggubati in a film still
It is disconcerting when segments of the audience whistle, cheer and clap when blood is
drawn, a severed head is displayed, bodies are impaled on the battlefield or a man has
his throat slashed with a scimitar in broad daylight. Nor is that all. Baahubali 2 also
troubling ideas of masculinity, motherhood, fealty of subordinates, codes of honour and
the valour of warriors, all the while upholding the appeal of the cult of violence and
blood feuds.
And when the stage is set for Devasena to accompany the besotted hero to
Mahishmathi as his bride, the latter assures her sister-in-law: "Nischint rahiye ab yeh
meri zimmedari hai (Rest assured, she is my responsibility from now on).
Really? Devasena is as good a thrust-and-parry artist as any, goddammit!
Even in strictly technical terms, Baahubali: The Conclusion is glaringly uneven. Some of
the CGI is breathtakingly fabulous, and some rather ordinary, if not outright tacky. The
animals, particularly the bulls and the elephants, look like stuffed toys. Many of the
backdrops conjured up for the action have a papier mache or cardboard feel.
When the key revelation about Katappa's 'treachery' is sprung upon us, it does not quite
catch us by surprise. Presented as a fait accompli, it is terribly underwhelming. It turns
out that the hook that held us in thrall all these months is after all no big deal.
But, all said and done, Rajamouli is an exceptional storyteller and craftsman. He packs
just enough into this magnum opus for his fan base for the film not be dismissed merely
as a hollow extravaganza. It is in excess that the strength of Baahubali 2 lies and it
makes no bones about it, take it or lump it.
Verdict: Baahubali 2 is more of the same - actually, a great deal more of the same -
minus the soul of the original. But the packed houses are bound to tell another story.
Katappa has done his bit.
Raja Sen
Amarendra Baahubali doesn't have the best moustache. The right end is curled up while
the left is lost in stubble, and it could use some proper twirling. Under these casually
unkempt whiskers we see a substantially low-slung cummerbund, tied - loosely - around
a man with a mostly unhurried gait. This is a ruler born into dominance, one who wears
power lightly and effortlessly, and doesn't have anything to prove.
This could be said of the director S S Rajamouli as well, who created cinematic
history with the first Baahubali a couple of years ago. Titled The Beginning, it was a
sword-and-sandals epic mounted on a scale Indian cinema had never seen. It gave us
not mere heroes and villains but its own mythology, telling us the story of a lost
princeling returning to claim his rightful throne. This film - The Conclusion - tells us why
he was lost in the first place, while elaborating on a dramatic revelation the first film
ended with.
As does his leading man, Prabhas. This is a giant film, an unsubtle blockbuster with
a Haatim Tai aesthetic and the soul of a shrieky libretto, but Prabhas plays Baahubali
Senior with a gentle ease. This leading man doesn't make faces or allow his nostrils to
flaunt his anger, and his dry intensity serves the film superbly. He is a hero to celebrate,
and while his moustache might droop - for he is too cool to be vain - his shoulders never
do. In this tale of kartavya and parkourtavya, he finds little flourishes, like the way he
watches blind justice being carried out while he looks mildly judgmental about the whole
thing, or the way he perches atop a throne in the opening scenes, dancing onto it and
stretching as he lands, as if posing for a calendar. What a graceful man.
He doesn't get much time for throne-posing, however. Conspiracies are afoot, and - like
at a ceremony preceded by Warren Beatty and Faye Dunaway - Baahubali finds the
announcement for his coronation altered, with crowds dumbstruck as the throne goes to
his stepbrother Bhallala Deva, played by the majestic (and jacked) Rana Daggubati.
Baahubali and Bhallala might be rivals for the kingdom, but the film's decision making
lies with the two dominant women in Baahubali's world, the queen mother Sivagami
(Ramya Krishnan) and his princess bride, Devasena (Anushka Shetty).
The film starts off lightly, with Baahubali and his man-at-arms Katappa - played by
Sathyaraj, who bestows the likeable character with overwhelming warmth - in comic
mode as they approach the warrior princess Devasena pretending to be simpletons.
Things stay calm till there is an attack, and - in my favourite action moment - the cool
and collected hero leaps into the air and shoots off three arrows in one go, a money-
shot if ever there was one.
Things get louder as they go on - with an army of flaming cows, believe you me - but
Rajamouli never loosens his grip on the narrative. This film stays tight despite a 171
minute running time, with well-written characters and motivations. The problem,
however, is that with nearly four-fifths of the new film playing out as a flashback, it
leaves very little time to satisfactorily tie things up once we return to the present. The
climax is appropriately massive and barrels ahead ballistically, set around a giant statue
Mayawati would endorse, but it needed elbow room. The people's revolution is reduced
to a few yells; Avanthika, the warrior princess of the first film, is left entirely without lines
this time around. Bhallal Deva simply doesn't have enough time to appear truly
threatening, despite his vicious performance and sabre-toothed breastplate.
Part of this complaint may, perhaps, be merely me clamouring for more of Rajamouli's
storytelling, and not wanting the saga to end just yet. He is an accomplished filmmaker
with a strong understanding of epic grammar, and - for all his overt iconography and big
setpieces - his smaller touches are what stay with me. There is much to appreciate in
the intricacy of the insignia painted on the characters' foreheads, the detailed scale
models Baahubali makes of his projects before constructing them, and lines like one
about bestowing a bride with so many jewels that she'd need a year before she could
repeat them.
Even the mythical land of Mahishmati is shown, in all its infallibility, as rigid. Rigid
enough to break the masts of its own ships as they enter. Good thing their champion is
secure enough to bow when he must.
Rediff.com » Movies » Baahubali 2 Review: Rajamouli keeps winking, and we keep falling for it
Baahubali 2 Hindi
movie review:
Cocktail of grand
stunts, visuals,
terrible acting,
closeted conservatism
Entertainment Anna MM VetticadApr, 28 2017 17:02:49 IST
2.25/5
Cast : Prabhas, Rana Daggubati, Anushka Shetty, Ramya Krishna, Sathyaraj, Nassar, a few seconds
of Tamannaah Bhatia
Director
S.S. Rajamouli
(Note: This is a review of the Hindi dubbed version of the Telugu
film Baahubali: The Conclusion.)
Fans of the Baahubali franchise have been discussing the hashtag
#WKKB on the social media for a while now.
If you have not guessed yet, that stands for “Why Kattappa Killed
Baahubali”, a reference to the teaser in the closing scene
of Baahubali: The Beginning in 2015. You will not find spoilers
on the #WKKB front in this review. Hold on to your seats though
for the answer to a far more pressing question: #DRTOHS.
The queen of the film’s hamsters though (if such a word does not
exist in the acting lexicon, then it should) is Krishna whose eyes
remain fixed in a bulbous stare through the nearly three hours of
this film’s running time.
Published Date: Apr 28, 2017 03:58 pm | Updated Date: Apr 28,
2017 05:02 pm
How does computer generated imagery (CGI)work?
HAYDEN WALLES
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GETTING CLOSE: While computer-generated graphics in video games, like this shot
from the upcoming PlayStation 3 game Beyond: Two Souls, aren’t quite photo-realistic
yet, rendering techniques used by game makers mean they’re getting closer and closer.
Computer generated imagery (CGI) is now so good that it's often impossible to tell what
was filmed and what only ever existed inside a computer.
Game graphics aren't quite that good but they're getting close.
Starting from a 3D model of a scene inside a computer, complete with virtual lighting
and a virtual camera, how does the computer render a realistic representation of the
model on to the grid of pixels that make up the screen? It's not a simple problem, but
there are a few solutions.
Probably the gold standard of computer graphics, used a lot these days in CGI, is a
technique called ray tracing, which approaches the problem starting with the pixels. It
begins by working out the path that a light ray would take coming from a pixel on the
screen to a viewer in front of it. Then it just keeps following the ray backwards into the
virtual world behind the screen, finding the closest object in the model that lies along the
ray. The pixel gets the colour of that object because that's what the viewer would see if
the model really existed on the other side of the screen.
The colour of the object depends on the light falling on it, which in turn depends on the
lights in the scene, the colour and transparency of the object itself and reflections and
shadows from other objects. So the computer traces additional rays from the source of
the first one to discover what the lighting situation is before it colours the pixel on the
screen. If there's a lot of reflections and other effects then a lot of rays will be bouncing
back and forth.
All this ray tracing can take a long time. That's OK if you're making a movie and can
spend hours behind the scenes rendering each second of final footage, but to render
interactive graphics in real-time for games there are quicker approaches. The main one
is rasterisation, which starts with the model instead of the pixels.
The model in this case is made up of lots of triangular surfaces. Even curved surfaces
are approximated by lots of little triangles stitched together. Using a bit of trigonometry
to take perspective into account, and taking care not to draw distant triangles over near
ones, each triangle is projected on to the two dimensional screen and the corresponding
pixels are coloured. Rasterisation takes a less disciplined approach to working out the
actual colour of the surface, using a big bag of tricks to approximate the effects of
lighting, transparency, reflections and so on.
There are other approaches, too, and its even possible to blend these and other
techniques in hybrid graphics systems. But ray tracing and rasterisation have emerged
as key technologies in the computer graphics world.
Rasterisation is very fast, but it has many limitations which stop it reaching the
photorealism of ray tracing. Photorealism is not always the goal, of course, but real-time
ray tracing is just possible at present and as technology improves it is bound to
eventually usurp rasterisation, even in games.
Baahubali 2 Review: Rajamouli keeps
winking, and we keep falling for it
April 28, 2017 17:27 IST
Baahubali: The Conclusion doesn't enlarge the scope of the first film or
deepen its meaning. However, it does expose the smallness of its many
ideas, even as it redeems most of its campy elements, feels Sreehari Nair.
It's not every day that a movie critic begins his review with two confessions, but I have
two nevertheless.
Two confessions is just my sort of thing -- one would amount to advertising-talk and
three or four confessions would be a bit too many.
So, after that graceless burst of sad news, which for all practical reasons should
immediately disqualify me from reviewing the second part, I also have to confess that I
thought that the first film was a teasing, hilarious movie.
Before you assume anymore, let me tell you, I didn't think it 'unintentionally hilarious.'
But then director SS Rajamouli's vision of the past is so full of unapologetic kinkiness
and grotesquerie, and so in-tune with the fantasy we take for granted when we read
mythological books that the movie became truly rapturous.
Baahubali: The Beginning was probably India's first mytho-comic movie, and it had me
by my lapel and gave me the tickles.
For how else do you respond to a film in which Tamannaah Bhatia's weather-beaten face
turns powder-puffed over the course of a fight?
Or how do you take in a land where even the waterfall seems subtitled?
Overheard the below conversation at a Coffee-Shop between two girls, wearing dungaree
jackets, and talking with a certain nasal offhandedness:
After all those tickles which some of us took for movie-greatness, Rajamouli is now back
with the second installment of his opus. It's been two years since the first one, which
adds up to 'zero time' in the Mahishmati Kingdom-world.
Baahubali: The Conclusion does not enlarge the scope of the first film or deepen its
meaning. However, it does expose the smallness of its many ideas, even as it redeems
most of its campy elements.
The movie begins by taking its epic-status seriously, with Part 1 being recapped in
computerised sculpture-figures and a running ballad that suggests that revenge is what
turns the world. And by the time the titles are over, we are back to tomfoolery.
The neat O Henry finish of the first installment has been the source of all the major
excitement surrounding the movie. But expect no answers, too soon. For Kattappa, the
programmed royal slave who has trained himself to surrender his mind, wakes up
in Baahubali: The Conclusion as a comical Sancho Panza to Baahubali's Don Quixote.
We know he's going to betray him eventually, but they start off here in all jest and
happily heckling each other.
Inside the Mahishmati palace, there's Bhallala Deva still sniggering, and his father
Bijjaladeva who hand-mimes a crab and works up a spit. Nothing much has changed,
not even the way that Ramya Krishnan's Sivagami looks at Baahubali, which (forgive me
if I am way off here), to me, suggested startling Freudian undertones.
Feral animals, as in the first part, are all CGI-enhanced, and the servile figures (that
happily bow down to royalty) are real ones. Characters take in their surroundings, but
there is a weird sort of pleasure in knowing that they are for most part just looking at
green screens.
Rajamouli notices such populist simmers, and in his movies uses them like elements in a
Soap-Opera. This means that the things in his movies that can startle you are also the
things that can be seen as supremely funny.
In Baahubali 2, a father asks his son if he ever wished to murder his mother. There is a
lake full of bobbing corpses; there are cows with flaming horns, bodies falling from the
moon, background dancers taken straight from a Mumbai-based Thai Spa, and a
telegram-bringing Falcon.
Three seats to my left, a gentleman was gaping at all of these, while I was laughing hard.
What's macabre in Baahubali 2 can also be chucklesome. And in getting at this duality
with all vigour, the movie becomes a wholesome celebration of Camp.
All those who may think of this second installment as underwhelming (and there will be
many who'll think so) didn't obviously watch the first part for its flaky pleasures.
And all those who'll merely mock at this whole franchise for its 'illogicality' all the while
prostrating to such gooey trash as X-Men Apocalypse are obviously betraying two very
separate standards for judging camp.
This, to me, is exactly the kind of picture that Pedro Almodovar was talking about in his
following theory: "When a movie has a profusion of bad tastes, it becomes a style."
There's no performance here of any intuition and they are all staged to achieve a certain
effect.
Anushka Shetty, who appeared in a loused-up avatar in the first part, gets a back-story
here, as the warrior princess who sets off the film's central dispute. In one particular
sequence, arrows pass through that small space between her lobe and earrings and she
blinks, before settling down to do a tango-of-combat with Baahubali as an in-palace
battle happens around their dance.
As the plot progresses, and as we move toward that big reveal that we have been denied
for two years now, Baahubali is shown to run a parallel government that threatens to
overthrow the kingdom. That section could have been investigated further, as
emblematic of how modern democracies were formed, but in the spirit of Rajamouli's
movies, we only get an AV-show of heroism.
If there's one area where Baahubali 2 falls clearly short of the first part, it is in its
staging of the battle sequences. I thought the big battle sequence in Baahubali: The
Beginning had, in significant measure, helped expand the meaning of its kitsch.
In that sequence, there were notes about the Primitivism of war and about the little
engineering of the times; a group of bulgy-eyed warriors added that texture of perversity
to the sequence with the war deaths photographed like a Fibonacci Series (you hit one,
and you got a handful).
Unlike the battle sequences in say a Bajirao Mastani, there, we felt like we were in the
dead centre of a war.
In Baahubali: The Conclusion, Rajamouli falls back on the preferred tropes of war-
sequences: it's all ingenious blocking and rain-of-arrows. In one shot, a commoner tries
to stop the enemy's advancing steps by hurling something that looked like a piece of
stone you throw at the police during a Hartal procession. Funnily enough, the battle
sequences here reduce the scale of the movie.
Despite its gargantuan cast, there are not more than 10 people in Baahubali who
actually talk; the others merely exist as echoes. These are people forever chanting their
support, nodding their heads in accord, or following directions.
If you think about it, this lop-sided view of heroism is in complete disagreement with the
spirit of great movies. But in a world of sheer campy values, as this one, such problems
became the very essence of the experience.
మస అయిన మమాయమాజజాలన
పరారట్ట-1 తత పపో లసపక బబాహహుబల - దద కతకక
క్లూ జన లల గరాగఫసికక మమేజిక పసదల్దేగరా కనిపసితచలలేదను. బబాహహుబల-1 లల
గరాగఫసికక మనలన గగకషతిపవప్పకకోనివతవవ. కరాన పరారట్ట-2 లల మయాతతత ఆ చమకలష అకషడకషడ మయాతతమమే
కనిపసిసక నుతదద. హతస ననవ అననే పరాటతత పరాటటు కజక్లూ మ
క యాకక లల వచదేచ్చే గరాగఫసికక మయాతతమమే ఎకలషవమతదదకక
నచనచ్చేయ.
నిజజనికక ఈ లలటటుపరాటటు
క్లూ రరాజమమౌళకక తతెలయనివి కరావవ. కరాకపపో తదే అపప్పటటకర నిడడివి పసరరిగరిపపో వడతతత
కకనిన పరాతతలన, మరరికకనిన సనినవనేశరాలన కలదదతచనలక వచిచ్చేతదద. ఓవరరాల గరా ససినిమయానను మయాతతత పతతి
ఒకషరరూ మమచనుచ్చేకలతటటునననరరు.
'బభాహహుబల' ఆయయుషష
ష ఎనత?
May 08 , 2017 | UPDATED 00:12 IST
భబారతీయ ససినిమయా సరాస్థియని పతపతచ సరాస్థియకక తీసనుకజళక్లూన ససినిమయా... అని మరరికకతదరరు అతటటునననరరు!
ఇవి ఒక ససినిమయాకల ఇసనుకనన కకతనబగలలే కరాన, మనసరాస్థియ మరగీ ఇతత తకలషవ? అననే సతదదేహానిన రజశైజ
చదేసప మయాటలల కకడన ఇవి! జజతీయసరాస్థియ, అతతరరాగ్జితీయ సరాస్థియ.. అననే మయాటలనను పరాతమయాణణకతగరా
తీసనుకలని మయాటబాక్లూడడుతతనననరరు, ఆ మయాటలల ''బబాహహుబల'' ససినిమయానను పప గడటబానికక
ఉపయోగరితచనుకలతటటునననరరు. బబాహహుబల మతచి ఎతటరటటెన
జై రర కరాన, 'సరాస్థియ' అననే పదననిన చనలయా
సనులభతగరా వరాడదేయడమమే ఇకషడ ఒకకతత దనురదకృషట్ట కరమమమైన అతశత. ఈ ససినిమయానను చసూపసితచి మనవరాళళ
క్లూ
జబబ్బలల చరరుచనుకకోవడత, తతొడలల కకటటుట్టకకోవడననిన చసూసపక మనమమే ఆశచ్చేరమ్యపపో వరాలక వసపోక తదద!
అతికక కరరరాఫ అడతస అయన తతెలలగగ మీడడియయా హాలవవడ కకడన రరాజమమౌళ దగగ్గు ర ననుతచి పరాఠరాలల
ననేరరుచ్చేకకోవరాల.. ససినిమయాలల తీయడత ఎలయాగరో రరాజమమౌళని అడడిగరి తతెలలసనుకకోవరాల.. అమమరరికరా వరాళళ
క్లూ , ఇరరాన
వరాళళ
క్లూ , ససౌత కకరరియనను
క్లూ కకమ్యలల కటబాట్టల.. అతటట ననోటక
ట కచిచ్చేన మయాటలతత రజచిచ్చేపపో తతతదద. అలయా
చతెబగతతనన అజజజ్ఞానననికక నివరాళ ఘటటతచడత తపప్ప మరరత చదేయలలేత. బబాహహుబల లయాతటట ససినిమయానను
పతపతచ సరాస్థియ ససినిమయా.. హాలవవడకల ధదటటెజైన ససినిమయా అనడత.. మరరో విసర్మాయకరమమమైన అతశత. అసలల
హాలవవడకల నిరతచనత తతెలయని వరాళళక్లూ ఇలయాతటట మయాటలల చతెబగతతనననరరు! వరారరికకీ జజోహారరులల.
ఆయనవవరరో అనననడట.. బబాహహుబల ససినిమయాకల ఆసరాషర అవరారడ క కకోసత లయాబీయతగ చదేయసరాకనను అని, ఈ
మయాట వితటట గత ఏడనదద బబాహహుబల పరారట్ట-1 నను ఇతడడియయా తరపవన ఆసరాషర ఎతటటీతకక పరరిశీలతచిన
విషయయానిన గగరరుక చదేయయాలక వసనుకతదద. బబాహహుబల పరారట్ట-1 కల జజతీయ అవరారరుడనను అయతదే ఇచనచ్చేరరు,
సగత ససినిమయాకర జజతీయ ఉతక మ పవరసరాషరరానిన ఇచిచ్చే అసలల ననేషనల అవరారడ కననే నవవతల పరాలలేగ్జి శరారరు.
ఫసచర ఫసిలర్మా కరటగరిరరిలల అవరారరుడనను ఇవరాతలతటట.. సదరరు ససినిమయాకల కజక్లూ మ
క యాకక ఉతడనలననే పరాతథమిక
విషయయానిన మరరిచి ననేషనల ఫసిలర్మా అవరారరుడల సరాస్థియని ననేలకల తీసనుకకచనచ్చేరరు. అయతదే ఫరారజన ఫసిలర్మా
కరటగరిరరిలల ఆసరాషరక ఎతటటీత విషయతలల మయాతతత బబాహహుబల తతొల రరతడలలననే వవనకకషచిచ్చేతదద. చనలయా
ససినిమయాలల ఎతటటీత కకోసత పపో టటీపడగరా.. బబాహహుబల దద బిగరినితగనను వవనకరససి, తమిళ ససినిమయా ''విసరారణణజై''
ఆసరాషరకకల టటకజట పప తదదతదద !
అదద విషయత. వతదలకకోటక్లూ రరూపరాయల బడతెగ్జి టతత రరూపప తదదన ససినిమయా కరాదను, మరరినిన వతదల కకోటక్లూ
రరూపరాయల వససూళక్లూ నను సరాధదతచిన ససినిమయా కరాదను, పతతిషట్ట నను నిలపప ససినిమయాలల వనేరర. మనలన
అతతరరాగ్జితీయయానికక పరరిచయత చదేసప ససినిమయాలల వనేరర. వరాటటని తతెలలగగ వరాళళ
క్లూ ఎననడద తీశరారరు. వరాటట
తరరాతత మనకల కడీణయయానత మొదలలజైతదద. ఆ కడీణయయానతలల మహాయయానమమే ''బబాహహుబల వన అతడ
టట''. వీటటని చసూసప మననోళక్లూ ళ మగరరిససిపపో తతనననరరు.
బబాహహుబలని కలట్ట హహట అతదనమయా..? అతటట.. అననొచనుచ్చే. కరాన, దదని పతభబావత ఎనిన రరోజలలతటటుతదద? అననేదదే
సతదదేహత. వీరమయాస మయానియయాకల నిరతచనత అయతదే ఇచిచ్చేతదద కరాన, ఇదదే జనననికక ఈ ససినిమయా
ఎతతకరాలత గగరరుకతటటుతదద? రరపవ టటీవీలల వనేసపక ఫసట్ట అతడ ససకజతడ టటెజైమక తరరాతత మమూడద సరారరి ఇదద
ఎతతమతదదని రరిమట పసజైచదేయ వనేయనయకలతడన చసూడగలదను? అననేదద ఆలలచిసపక .. ఈ ససినిమయా
సరాస్థియయతతత ఇటటట్ట సప్పషట్ట త వసనుకతదద.
బబాహహుబల ససినిమయా గరగట అతటటునన వరారరు కకడన.. దదనిన మయాయయాబజజరతతననో, మిసకమర్మాతతననో, పరాతడవ
వనవరాసతతతననో, మరరో దననవీర శూర కరషతతననో.. పపో లలేచ్చే దనుసరాకహసత చదేయలలేదను. కరాబటటట్ట గగొపప్ప గగొపప్ప
తతెలలగగ ససినిమయాలతతననో.. అతతదేసస్థి రాయ హాలవవడ ఫరాతటససపసిరరియయాడడిక డనతమయాలతతననో పపో లచ్చే సమయయానిన
వకృథన చదేసనుకకోనకషరరక్లూదను. తతెలలగగలల అరవవజై డతెబబెజైబ్బయయళక్లూ కకతదటట వచిచ్చేన కరాక్లూససికల ఎరరా ససినిమయాలలక్లూ దదేని
కరాలబబో టటకకీ సమయానమమన
మై ససినిమయా కరాదను బబాహహుబల. రరోజలల గడడుసనుకనన కకదదల్దే మన పరాత బతగరారరానికక
మమరరుపవ పసరరుగగతతతదద. అదద పసరరుగగతతూననే ఉతటటుతదద. మధమ్య అలయాతటట లలయాక్లూయ ససినిమయాలనను
తీసనుకకచిచ్చే.. మనసరాస్థియ పసరగ
రి రితదద అని మగచచ్చేట పడనకషరరక్లూదను.
బబాహహుబల రరతజ గగరరితచి మయాటబాక్లూడడుకకోవడననికక.. తగరిన ససినిమయా ఒకటట ఒకటట. అదద తతెలలగగలలననే వచిచ్చేతదద.
సతచలన విజయత సరాధదతచితదద. అదదే 'అరరుతధతి'. వరాసక వరాలల మయాటబాక్లూడడుకలతటట.. విడడుదలకల మగతదను
ఎలయాతటట హహహైప లలేకలతడన, విడడుదలకల అపసపో పరాలల పడడి.. వరాయదనలలపడడి వచిచ్చే.. మీడడియయా సహకరారత
ఏదదలలేకలతడన.. జననలకల విపరగీతమమమైన సరాస్థియలల ఎకరషససిన 'అరరుతధతి' ససినిమయా కననన బబాహహుబల ఏ
రకతగరానసూ గగొపప్పదద కరాదను.
అసలల 'అరరుతధతి' అననే ససినిమయానను తీసనుకనననరని కకడన ఎవరరికకీ తతెలయదను. అపప్పటటకక అననుషష ఎవరరో
కకడన పసదల్దేగరా తతెలయదను. ననగరారరుగ్జిన సరసన ససకతడ హహీరరోయన, సనుమతత సరసన ఫసట్ట హహీరరోయన అదద
ఆమమ సరాస్థియ. ఆ ససినిమయా దరర్శకలడడు కకోడడి రరామకకృషష ఔట ఆఫ ఫరామ. ఇక మలలక్లూమయాల శరామ్యతపతసరాద రజడడిడ
ఎపవప్పడద మతచి ససినిమయాలల తీశరారరు కరాన, 'అతజి' డడిజజసట్ట ర తరరాతత ఆయననను నమర్మాడత మయాననేశరారరు
పపతక్షకలలల. ఆయననేదద పసిచిచ్చేకకదదల్దే ససినిమయాలల తీసరాకరరు కరాన, ఆకటటుట్టకలననేవి కరాదదేమ.. అననేదద కకగటటకక
అభిపరాతయత.
ఇక మమేకకతగ దశలల కరాన, విడడుదల దశలల కరాన.. అరరుతధతికక మీడడియయా ఇచిచ్చేన సహకరారత శూనమ్యత.
జీరరో అతటట జీరరో. అదద వసనుకతదననే విషయయానిన మీడడియయా గగరరికతచలలేదను. కరాన.. అదద వచిచ్చేన తరరాతత
మీడడియయా అవసరత ఆ ససినిమయాకల లలేకలతడన పపో యతదద. సతకరాగతతి సతదరద్భుతగరా విడడుదలనననరరు.
ససినిమయానను మగతదనుగరా పతకటటతచిన రరోజ విడడుదల చదేయలలేకపపో యయారరు శరామ్యమ. విడడుదల పతకటననను
పపపరక్లూ కల ఇచిచ్చే.. ఆ రరోజన ససినిమయానను విడడుదల చదేయలలేదతటట... అదతత నవగరిటటవ పరాయతటట పతతదేమ్యకతగరా
వివరరితనకషరరక్లూదను. మరరి రజతడద రరోజన
జజై న విడడుదలలజైతదన? అతటట, అదదలలేదను. చివరకల ఎలయా విడడుదల
అయమ్యతదద , ఏ పపూటకల పతదరరిర్శతత అయమ్యతదద కరాన... ఎలయా బబొ మర్మా పడడితదద! రరాషరాట్టష్ట్రానికక 'బబొ మయార్మాళ'' జతరత
వచిచ్చేతదద!
ఊదరగగొటట్ట ట మీడడియయా లలేదను, ఊరరికర పతచనరత చదేససిపసటట్ట ట కరారగొప్పరరట పబిక్లూ ససిటటీ లలేదను.. కరగజీ డతెర
జై జకట్టర లలేడడు, కరగజీ
హహీరరో లలేడడు, కరగజీ విలన అతతకననన కరాదను... ఏమగతదద ఆ ససినిమయాలల? బబాహహుబల వీళక్లూ తతన మసనుకనన
సరాస్థియతత పపో లలచ్చేకలతటట, అరరుతధతికక దకకషన పతచనరత ఎతత? అరరుతధతిని మససి పసటట్ట తట దద ఎవరరు? ఒకవనేళ
అరరుతధతికక కకడన మగతదను, వవననుక బబాహహుబల లయాతటట హహహైపతతడయ ఉతడడుతటట.. దనని వససూళళ
క్లూ మరర
సరాస్థియలలఉతడదేవి? ఆ ససినిమయాపసజై ఇతకరా ఎలయాతటట పతశతసలల వచదేచ్చేవి? మసపవరాళళ
క్లూ మచనుచ్చేకజన
శై న
లలేకపపో యనన.. అరరుతధతి ఎనిన అదనుద్భుతనలనను సకృషసిట్టతచగలగరితదద?
కకతచతెత డడీపగరా వవళక్లూ మయాటబాక్లూడడితదే.. ఇదద బబాహహుబల సరాస్థియ. బబాహహుబల వన అతడ టట ఈకతలలస టటు
అరరుతధతి! అదద సమీకరణత. బబాహహుబల ససినిమయానను మససిన, మసనుకనన మీడడియయా వరరాగ్గుల
పతయోజననలల వరాటటకలనననయ. ఒక మయాస హహసట్ట ర
స రియయాతత ఆ విధతగరా వమ్యవహారత కకటటుట్టకలపపో యతదద.
కరాన.. ఇదతతన నటటబగడగ. రజతడడు మమూడదేళక్లూ తరరాతత చసూసనుకలతటట.. ఏమీ ఉతడదను!
ఎనినసరారరుక్లూ కళళ
క్లూ చమరరాచ్చేయ? మరజనినసరారరుక్లూ చరర్మాత జలదరరితచితదద, ఇతకజనినసరారరుక్లూ రరోమయాలల
నికషబబొ డడుచనుకలనననయ? బబాహహుబల టటని చసూససినపవప్పడడు ఇలయాతటట ఫసలతగక ఎనినసరారరుక్లూ కలగరాయ?
'దతగల'నను చసూససినపవప్పడడు మరజనినసరారరుక్లూ మనసను, శరగీరత భబావవోదదేతగపపూరరితత అయమ్యతదద? దతగల
కలలక్షక్లూనను కకడన బబాహహుబల బబక
త చదేయొచనుచ్చే గరాక.. మనసనునను వవతటబాడటతలల మయాతతత దతగలనను ఏ
రకతగరానసూ గజలవలలేదను.. బబాహహుబల. ఇలయాతటట బబాహహుబల ఆయగషత
ర్ష కరవలత మమూడడునననళక్లూ మగచచ్చేట.
మరరికకతదరరు అమయాయక జనత.. బహహుబల ససినిమయా చతెజైననలల హహటట్ట తటెట దద, నవజీ
జై రరియయాలల సతచలన విజయత
సరాధదతచితదద అని మగరరిససిపపో తతనననరరు. ఎపవప్పడద దశరాబబాల్దేల కకతదట వచిచ్చేన ''అలక
క్లూ రరి ససతనరరామరరాజ''
లతడనలల అరద శతదదననోతకవత జరరుపవకలనన విషయయానిన పతసక రావిసపక .. మన పతతిషట్ట దశరాబబాల్దేల కకతదటట
ఖతడనతతరరాలనను దనటటతదద, కకతక గరా భగజజలల తడడుమగకకోనకషరరక్లూదనురరా బబాబమూ.. విదదేశరాలలక్లూ ఆడటత అననేదద
బబాహహుబలకర పరరిమితత అయన గగొపప్పదనత కరాదను, దదనిన గగొపప్పదనత అననుకకోవడత కరవలత మీకర
పతతదేమ్యకమమమైన అజజజ్ఞానత అని చతెపరాప్పలక వసనుకతదద. ఇతతకకీ ఇతత గగొపప్పదదగరా ఇపవప్పడడు చతెపప్పబడడుతతనన..
ర్ష ఎతత? అతటట మయాతతత, దననికక కరాలమమే సమయాధననత ఇవతబబో తతతదద!
బబాహహుబల ఆయగషత
http://www.boxofficeindia.com/report-details.php?articleid=2971
India (GROSS)
Dangal - 512 crore (Hindi, Tamil and Telugu)
Bahubali 2 - 1283 crore (Hindi, Telugu, Tamil and Malayalam)
Overseas (GROSS)
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Bahubali 2 - $44 million (284 crore) (Hindi, Telugu, Tamil and Malayalam)
Worldwide (GROSS)
Dangal - 1734 crore (Hindi, Tamil, Telugu and Mandarin)
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