Spoilers ahead…
At the beginning of Baahubali – The Beginning, we’re shown the lay of the land. This kingdom lies here, that one there. It’s nothing new as an idea – we saw this in Lagaan, for instance. But look what the director, SS Rajamouli, does. He renders the map in three dimensions and follows it all the way to a waterfall, which morphs into an actual waterfall – there’s always a little tweak, a little twist. We see the Ramya Krishnan character (she’s good, but can’t anyone think of anything she can play other than The Glowering Woman) running towards us clutching an infant – but as she moves past us, we see the arrow sticking out of her back. We see Palvaalthevan (Rana Daggubati) preparing for a fight with a bison-like animal – but it’s only when man and beast are in the same frame that we register how big the animal is, what a monster it is.
The small problem with Baahubali is that these visual twists aren’t complemented by narrative ones. There’s a wonderful revelation at the end involving Kattappa (Sathyaraj, who has the most moving part and aces it), and it sets up Part II of the film (expected next year) wonderfully – but otherwise, this is not the kind of movie you watch for the plot. As he did in Naan Ee, Rajamouli proves here that the story doesn’t really matter – for what is Naan Ee but your average revenge saga? But the minute you make that man a housefly, everything changes. Suddenly, it’s a brand new experience.
Baahubali, seen as just a story, is as old as the hill that Sivu (Prabhas) wants to climb. The film takes us back to an era of palace intrigues and deliverer myths, when royals spoke formal Tamil (“Mudiyai mudippavan mudi”) and commoners a more colloquial tongue. It’s the kind of cheerfully manipulative film where, after a war, a wounded man raises himself painfully on a stick as he cheers the newly crowned king. But Rajamouli makes us feel we’ve never seen anything like it. It’s part AP Nagarajan. It’s part Cecil B DeMille. Even Tolkien is in here somewhere. Along with a kitchen sink full of masala tropes: the long-suffering mother, brothers-turned-enemies, flashbacks and double roles. All updated with six-pack abs, computer-generated effects and eye-popping visuals. (Cinematographer KK Senthil Kumar and production designer Sabu Cyril are practically co-directors.)
The emotional beats take a while to cohere, so the first half is a bit of a drag – but even so, there’s much to enjoy. Take the romance between Sivu and Avantika (Tamannaah). If you’ve seen the trailer, you may have thought (as I did) that the actress was cast because she looks pretty in that gold bustier and those diaphanous white robes. But she’s actually some sort of – are you ready for this? –guerrilla warrior. One of Rajamouli’s achievements is that he makes us buy Tamannaah as this warrior. For once, her face shows character. And the mandatory love scenes are delightfully reimagined. There’s a bit that has to do with underwater calligraphy. And later, we see the classic taming-of-the-shrew construct depicted through choreography. Of course, there’s also a song sequence where the camera lights lovingly on Tamannaah’s navel. Some conventions are sacrosanct – you don’t mess around with them even if you’re SS Rajamouli.
I couldn’t quite buy Prabhas as this saviour. He has the physicality, all right. As the film’s title suggests, he’s strong. He keeps lifting things – a giant lingam, a giant boulder on a mountain, a giant statue. (In the Marvel universe, he’d be called Hoist Man.) And he acquits himself well in the action scenes – the one where he grabs a sword from its scabbard, in midair, is why wolf whistles were invented. (The battle manoeuvres are brilliantly imagined.) But Prabhas looks like a soft romantic lead, especially when compared to the oak-like Daggubati, who looks like he was nursed by a dragon. When Sivu delivers this movie’s equivalent of the rousing speech Henry V gave before leading his men to the Battle of Agincourt, we don’t feel the fire.
Then again, one way to experience Baahubali is to simply block out the sound (Maragatha Mani’s tunes aren’t very memorable) and imagine you’re watching the most spectacular silent movie of all time. In the midst of filmmakers who think they’re giving us spectacle by going to virgin foreign locations and shooting mountains and flowers, Rajamouli gives us more.. and more. This isn’t just about grandeur in visuals. It’s about grandeur in ideas. If DeMille’s saviour, in The Ten Commandments, was transported in a basket as a baby, Rajamouli has the child held aloft by a hand amidst swirling waters. There’s a superb romantic scene whose centrepiece is a snake twined around an arrow. I laughed out loud at the sheer audacity on display. Rajamouli proves that it’s possible to reinvent even the “TASMAC song” – here, the dancers emerge from a pyramid of ropes, as alcohol flows from pitchers overhead. But the best sight of all is that of a filmmaker not, for a second, taking his audience for granted.
KEY:
- baahubali = strong of arm
- Mudiyai mudippavan mudi= (loosely) to the victor, goes the crown
An edited version of this piece can be found here. Copyright ©2015 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Dhdjd
July 10, 2015
BR, did you seriously write a review without the term meta or fourth wall? It is a new day indeed !
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ven
July 10, 2015
hi,
you looking in to Ten commandments why do you think about Krishna’s birth in Bhagavatham. you never accept Indian creativity may be you are don’t like it.
xxxx
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brangan
July 10, 2015
Dhdjd: Ha ha!
Actually, there is a kinda-sorta meta scene here with Rajamouli, but I thought I’d spare my readers 😀
ven: Two things. One, I am not saying he was inspired by Ten Commandments for the scene with the baby. Two, the statue-erection scene (stop sniggering, KayKay) seriously reminded me of Ten Commandments, the point where the slaves are building the city for Rameses etc.
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krishnan
July 10, 2015
I like it when BR respects effort
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A
July 10, 2015
This feels incomplete. Somewhere a bigger, deeper digging out I expected from B’s review from BR. Its like I was thirsty , but did not get enough water to quench it. Its worse that not being given any at all.
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Srinivas R
July 10, 2015
I think BR is not just respecting effort here ( kind of A for effort appraisal), but I sense a genuine appreciation for the film making
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abishek balaji
July 10, 2015
sir
can rajamouli (in a way) be compared to Shankar? the grandeur, cast,promos….. aren’t they somewhat similar???
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MANK
July 10, 2015
Brangan, this is a mediocre movie at best. The director has put all his effort into the physicality of the production. Its woodenly scripted, terribly acted film and the first half is boring. the entire tamanna angle was cringe worthy especially that striptease. I am surprised you didn’t tear into this more deeply. On the plus side, the visuals are superb and the good thing is that film is told visually and has some terrific set pieces
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brangan
July 10, 2015
MANK: Sorry, I guess we differ this time. I thought there was a lot of playfulness in how he rejiggered the must-haves of the masala movie, and there were so many great “mass” moments. Not to mention was a beautifully mounted production it was — I mean, for instance, the battle scenes had such clear spatial delineations. Some astounding tech work.
Yes, hokey story and all — but did not bother me at all.
Did wonder, though, about Prabhas, Haven’t seen any of his other films. Is he really the best Telugu cinema could get for this part? Or was something lost in the dubbing etc.?
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MANK
July 10, 2015
Brangan, a film like this begs the question- how did kamal failed to mount his productions of marudunayagam and marmayogi which where made on this scale. The Tamil film market is so much bigger than Telugu and kamal is of course the most famous and respected actor/filmmaker this country has seen. Really beats me.
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Priyangu
July 10, 2015
Kalakkal review, BRavo! Creativity flows from the mind, as dancing words emerge from the ropes of sentences. (Sorry about my plagiarism, BR-ji )
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brangan
July 10, 2015
MANK: The Tamil film market is so much bigger than Telugu
Really? I always thought the Telugu market was bigger. I mean the monies there — salaries, budgets, fans, number of times people go and watch the same film — are insane.
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MANK
July 10, 2015
Brangan, physically yes prabhas is the best guy for this film, but he’s not much of an actor. The most talented front line actor\superstar in telugu is mahesh babu. But he’s much too polished and sophisticated for this kind of film.
Yeah I do agree with you about the mounting – at 200 crores it gotta be -and the masala quotient. I just wish it had more depth at this scale, you know more like benhur or Spartacus rather than Conan the barbarian or 300 – which is what this film resembles
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MANK
July 10, 2015
Brangan, nope. The highest paid actors get 15-18 crores in Telugu, while in Tamil its between 25 to 35 crores (rajni,kamal,vijay,Ajith)
The biggest hit in Telugu is attarinki daredi which made a gross share of 74 crores, while big hits of rajni and kamal comfortably crosses 100 cr. Vijay film kathhi itself made about 110 cr.
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Morgan Freeman
July 10, 2015
@mank if mahesh babu is the most talented front line actor telugu film industry has then I feel sorry for it.
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apala
July 10, 2015
@MANK
The problem for Kamal getting finance from Indian investors for Marudanayagam / Marmayogi would be lack of that “masala quotient” – as the story would (at least in the former) demand to have more depth as it’s not fantasy but rather based on first mutiny in India (well before 1857). Kamal did have the funding and Pokhran Nuclear test happened (in 1998) – sanctions followed – Americans (as usual) washed off their hands on him! புலிவாலை பிடித்த கதை-யாய் (as Sujatha would put it), he is still chasing that dream. I wish it comes true.
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AlterEgo
July 10, 2015
@MANK really? I doubt any South Indian movie has ever done 100cr except may be Robot. Haven’t seen any trade analyst ever declare these much revenues for South films. All these numbers are created by Fans of respective actors i feel.
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vijay
July 10, 2015
If Tamannah was really made tolerable as you suggest here, then that might be Rajamouli’s biggest achievement yet.
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vijay
July 10, 2015
“one way to experience Baahubali is to simply block out the sound (Maragatha Mani’s tunes aren’t very memorable)”
What I was thinking about the other day and am sure that a 70s/80s guy like you would relate to this, is that how good music for most big banners/actors were taken for granted in MSV/IR’s prime. Often you heard appraisals that the movie, small or big, didn’t live up to the music or the songs weren’t shot adequately well. Do you realize that the situation has slowly, but surely reversed over the times and esp. in the last decade? At least I feel so. In the sense, even somebody like me who isn’t exactly a cinebuff anymore can recount six memorable films of last year based on just reviews I read. But I am hard pressed to recall even six good/great soundtracks… scratch that, six good/great songs from last year based on my own hearing. Depressing to note the turn of things. I mean, in the 60s or 80s this kind of a film, this kind of a canvas meant money in the bank as far as the music was concerned. You just have to brief the MD with a one-liner and the product was delivered in a matter of hours, almost always hitting the mark.
what sort of a tone-deaf era are we living in?
And to add insult to injury we have to stand idiots like GVP, Anirudh, Devi sri prasad with their stints in front of the camera as well. Mediocrity all around. Reminds me often of Salieri’s closing lines in Amadeus.
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apala
July 11, 2015
@vijay @BR
Here is IR tweaking “மாங்குயிலே பூங்குயிலே” based on change in situation!
https://video-ord1-1.xx.fbcdn.net/hvideo-xtf1/v/t42.1790-2/11290590_878174308897571_866769536_n.mp4?efg=eyJybHIiOjYyMSwicmxhIjo5MTF9&rl=621&vabr=345&oh=7aa3546dfcb7f5d58776c1dee7ffea27&oe=55A03E98
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apala
July 11, 2015
IR tweaking “மாங்குயிலே பூங்குயிலே” on YouTube:
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hattorihanzo4784
July 11, 2015
brangan basically to sum-up your review:
So I went to this Baahubali movie and …
1) Initial introduction of the Bahubali-verse = nothing new
2) Ramya Krishnan coughstereotypecough
3) un-imaginative narration
4) no effing plot
5) story as old as the old woman on the old hills that my old eyes turned blind watching and writing reviews for
6) a kitchen sink full of masala tropes
7) The crew covered up for the director
8) the first half is a bit of a drag
9) This Prabhas dude isn’t exactly warrior-hero material
10) bad music
but hell who cares, movie is spectacular hehehe…
I want to discuss about the casting of Prabhas though. I hope I dont hurt anyone’s feelings, but the present trend in telugu is that, once a young hero gives a hit movie; he will chart his career plan in the direction of becoming the next chiranjeevi of the industry. whereas in tamil you have actors who want to carve their own niche. everyone doesnt want to become a RAjinikanth (not out of choice, but out of knowing their limitations). you have a full spectrum here. starting from the pure commercial heroes who want to be the next rajinikanth – Vijay, STR etc.. you slowly move to actors who want to commercial movies, but dont want to play the same role over and over again. So you have a ajith, vijay sethupathi, karthi, vishal, jeeva, arya etc… They are commercial too, but with a small variety in each of their movies (thats their goal, success/failure is not the point here), then moving ahead in the spectrum you have a surya, dhanush who are very much into commercial movies, but dont back off from serious experimentation. Moving a little further you have a much more serious method actor like vikram, further on, kamal hassan. Various tamil actors are evenly placed in the spectrum at different positions.
The problem in telugu industry is that there is only one position. The Chiranjeevi position. Everyone and their cute puppies who give their first hit want to be the next chiranjeevi. So the spectrum has vast spaces of emptiness and then at the extreme end where vijay sits in the tamil spectrum about 25-30 telugu heroes are cramping for room. Maybe a mahesh babu and few others like nani are somewhere near the place where ajith and karthi are in the tamil spectrum.
so basically tamil industry has one Vijay (who himself is a rajini/mgr wannabe) and 4-5 Vijay wannabes. telugu industry has 2-3 almost Chirus like Pawan Kalyan, 3-4 future Chirus and about a 20 Chiru wannabes.
i hope you get the point that iam trying to make.
If you see the superhit movies of Prabhas like Varsham, Chatrapathi, Mr. Perfect, Mirchi; it is very clear where he wants to end up in the spectrum. He wants to be like a vijay for the telugu film industry. or more aptly put, the Chiranjeevi of the industry.
There is not much scope in casting based on acting talent. He physically fits the bill and he was chosen. nothing more. But to Prabhas’ credit, he gave up 3 years of his career for this movie. That should be appreciated.
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Karthik
July 11, 2015
“In the midst of filmmakers who think they’re giving us spectacle by going to virgin foreign locations and shooting mountains and flowers, Rajamouli gives us more.. and more.”
BR, I see what you did there 🙂 I was afraid that it was going to be another expensive dud like ‘I’. Now I can splurge money on a dubbed film with some confidence. Thanks.
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Anuja Chandramouli
July 11, 2015
BR: I have to agree with MANK here. I think you were too bamboozled by Tamannah’s bountiful curves and the camera’s creepy obsession with her navel to note that it is impossible to buy her plastic turn as a guerilla warrior. Rigid shoulders, scrunched up eyebrows and a bust thrust front and centre does not a convincing performance make. And I am sorry, not even the great Bard can make me get on board the whole Taming of the Shrew sexist drivel. So when Prabhas ‘playfully’ points out that he is ‘guy’ and she is a ‘girl’ thereby reducing her to a mincing, preening sex – pot, I threw up in my mouth a little. The rest of the time when Tammu prattled on earnestly about her ‘lakshiyam’ and fought bad guys, I burst out laughing.
Plus as a huge fan of Rajamouli’s Magadheera and Eega, I thought Bahubaali was his most self – indulgent film to date. The screenplay especially was so bloated with gas, it gave me indigestion. Karky’s dialogues were a huge disappointment. The parts that are supposed to rouse sentiment had the contrary effect of making me roll my eyes or chuckle a bit.
I agree that Prabhas is not saviour material though he looks the part, though I think Rajamouli is partly to blame. I could just imagine a young Nagarjuna or Chiranjeevi chewing scenery with a part like this and making Rajamouli’s missteps seem insignificant. What a pity!
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Bala
July 11, 2015
Wait, what Tamanna and strip tease? *starts booking tickets * Heh, I have to admit I’m surprised though. The trailer looked terribly unimpressive, the acting loud. I guess this is one of those movies which look good on the big screen.
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kans345
July 11, 2015
@BR: I really loved the line “Some conventions are sacrosanct – you don’t mess around with them even if you’re SS Rajamouli.”
This is what one can refer to, confidently, as poetic sarcasm.
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Dhdjd
July 11, 2015
no BR, please do share , we do not want to be spared 😊
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Pranesh
July 11, 2015
Thanks Apala. Watching that clip reminded me of college days! Yuvan was in the front row in that concert 🙂
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Vamshi D
July 11, 2015
@BR – nothing was lost in dubbing. Prabhas voice is weak and he can’t summon anger. He was purely taken for his sheer physical presence. Rana could have played the title character too, he has a better voice and acts better. But he does not have much of a fan base. Prabhas has done a decent job in a couple of movies earlier (Mirchi, Chatrapathi) etc. but somehow was a bit tame in this one. Most of us in Telugu felt the same. Btw, i too liked the romantic episode though most reviewers are calling that out as a lame part in largely overwhelmingly positive reviews. It sticks to the need for a romantic track and was short and breezy.
@Monk – do you really believe in the hyped collections turned out by fan groups, like Robot collecting 300 crores etc. That is why most people just take US Rentrak figures as the benchmark as those are actual figures. Early indications are that Bahubali will even cross PK for the first weekend. For a Telugu movie to cross a hindi movie like PK is just crazy.
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KayKay
July 11, 2015
“Two, the statue-erection scene (stop sniggering, KayKay)”
Too late, B! The guffaws started when I skimmed your review in a hurry and actually read one line like this:
He keeps lifting a giant lingam……hehehehe
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Rajendraprasada Reddy
July 11, 2015
I couldn’t understand why BR sir spared Rajamouli’s latest film Bahubali. It is a visually BLUNDER. Rajamouli has no historical sense. There is no sensibility in this film. Only grandeur. Rajamouli and Tamil director Shankar, who are not more educated, not have enough resoursefulness or exposure, are resorting to making these kind of crude movies. They became prisoners of their own dogma. UNEVEN STORYTELLING, WEAK CLIMAX, UNDERDEVELOPED CHARACTERS, NO EMOTIONAL GRIP… these are the hall marks of Bahubali movie. Sensible critics like Rangan should tell the truth. They should not get carried away by hype and sensation which at the end damage the careers of directors like Shankar and Rajamouli. I watched the Telugu version. Rajamouli even betrayed his fans by trying to manipulate that he was making a great movie. I think even boxoffice won’t kind be kind towards Rajamouli.
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ThouShaltNot
July 11, 2015
If you leave aside star salaries (some of them have better crossover appeal), the Telugu film industry is bigger than the Tamil film industry.
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Udhay Sankar
July 11, 2015
Apala: Thanks for the IR video.Him enacting Yuvan was sheer fun..
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sankar anand
July 11, 2015
Phew.. Leaving aside the bland story, I thought the basic mistake was the movie could not make the characters real.. at least for me.. When you want to watch a period film,you will want to have some amount of realism added to each frame.. That too in our country, we don’t have any film that portrayed the ancient war life and methods before.. We wanted a bit of realism here, how the ancient heroes really lived.. The intent to show Hero and Villain more powerful than the others was okay. But some scenes were just overboard.. The lifting of that idol especially when 100s of men couldn’t .. Do you think this is heroism ? And the fight with at least 25 times larger bull ? The first half made me really squirm.. And first few scenes with Rohini and Tribes were purely terrible.. And there was speed breaking songs.. Especially after watching three movies in the past three weeks such as Kakka muttai, Indru Netru naalai and Papanasam with less or no songs at all…The second half was a life saver.. But still there was only wow watching the war scenes.. and nothing more than that After all I am a Rajamouli fan for a long time.. am still his.. I was very excited for this movie… Damn sure he could not disappoint me.. But in the end came out with a mixed strange feeling! Hope the conclusion ties all the knots…
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MANK
July 11, 2015
Leaving the BO figures aside- Tamil films – especially of the top stars- has a solid market in all the south Indian states. It has markets in east Asia and America
The entire business of Telugu films come from the 2 Telugu states. So what you said about people watching the films insane number of times is true. I was talking about the total market and return of investment. Not exactly the size or scale of the industry. Now Telugu films are trying to expand their business beyond that
It has now opened up business in america and also trying to expand majorly into the neighboring states. The dubbing and aggressive promotion of bahubali is a testament of that
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brangan
July 11, 2015
Will get to the other comments later, but had to say this. Am I the only one who saw this as just a thrillingly old-fashioned masala movie and not a Ben Hur wannabe etc.? Why should we question the logic of one man lifting that huge idol etc. when Rajinikanth has been defying gravity for decades?
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venkatesh
July 11, 2015
@MANK: The overall “GDP” of the Telugu film industry is bigger than the Tamil one. Source : Distributors.
@Anuja Chandramouli: “and a bust thrust front and centre does not a convincing performance make.”
you clearly haven’t heard Mae West’s exhortations . Tits and asses thats all they want. 🙂
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venkatesh
July 11, 2015
@BR: “Why should we question the logic of one man lifting that huge idol etc. when Rajinikanth has been defying gravity for decades?”
Horses for courses BR. Rajini can doesn’t defy gravity. it doesn’t apply to him 🙂
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sachita
July 11, 2015
Has Rajini really done more gravity defying acts than other Masala heroes? – This is more of a north Indian myth I thought. Coming from you it surprises me.
I mean lack of logic in story lines yes. Punch dialogues yes.
Infact the one movie I noticed this was in Lingaa complex but that I thought was more matching the spoof than the other way around.
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kalpeshjain22
July 11, 2015
@BR Sir:Probably Rajamouli didnt want anti following (which isnt majorly due to the skill of the actor but his caste)of the hero pose a problem and thus chose Prabhas who relatively has a lesser anti following when compared to other stars here.Even then the problems arise watch the link below:
https://m.youtube.com/watch?feature=youtu.be&v=iEVQhhmKhjA
Sir, this is your first full length review for a telugu cinema right?
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Raju
July 11, 2015
“Some conventions are sacrosanct – you don’t mess around with them even if you’re SS Rajamouli..”
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Mani Prabhu
July 11, 2015
Well, in a different film-making environment, we can view almost everything about #Baahubali from a distance, with a ‘been-there-seen-that’ detachment and a deja-vu indifference, categorising the grand warfare sequences as basic, staple high-octane action fare that results out of the mammoth budgets spent on software crunching and the intricate visual grandeur as the least obligatory detailing work for filming a typical mythological saga, and then divert our attention to pointing out the obvious inadequacies/lack of novelty in the core dramatic conflict, scripting issues that plague the first hour and the over-dose of combat movie clichés.
But in the context of our mainstream cinematic universe, that in general refuses/hesitates to invest big money in anything other than plot-less, unimaginative ‘star vehicles’, whose utmost idea of pushing the barrier happens to be setting up multiple camera angles for the over-paid hero to punch the villain in his paunch, Baahubali, that shows how a visionary and persevering filmmaker can convince this universe to invest in his insanely monstrous dreams and then succeed in bringing the magic to celluloid with innovative tactics and jaw-dropping perfection without relying merely on fan gimmicks and star power, definitely needs to be singled out, despite its obvious writing inconsistencies. And given its due.
As for crazily celebrating it; 2016, where are you?
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Anuja Chandramouli
July 11, 2015
BR: A thrillingly old – fashioned masala film would have been great fun and Baahubali does not quite make the cut simply because it is too puffed up with self – importance and a sense of epic grandeur. Rajamouli’s craft is wonderful and I love the fact that he lavishes so much care on his films but this just fell short for me on every level.
I actually did not question the logic of the characters lifting heavy idols and wrestling suitably menacing monsters a la Hercules because most of us accept unquestioningly that everything was better in the good old days. That was not an issue for me. But the assorted things that appealed to you (underwater calligraphy, censor – approved striptease, the green snake, Tasmac item number) left me stone cold.
In a masala movie, you check your brain at the door and strap yourself in for a fun ride. But this is too heavy for that. You have a megalomaniac who saw fit to imprison the woman of royal blood who rejected him for 25 years, ordering that her baby be killed. There is a majestic matriarch who calls on the Three- Eyed God to take her life but spare that of Mahendra Baahubali, finding the strength to hold aloft the tyke even as she goes to a watery grave. There is oppression on a large scale and people awaiting a saviour… It is wannabe Ben Hur alright but without the balls to go the whole hog.
Venkatesh: Mae West’s wise words is common knowledge but I do believe she was referring solely to the male of the species 🙂
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Rekhs
July 11, 2015
Has anyone seen the Telugu version with subtitles?
If so, can I have your feed back pls?
thanks, rekhs
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The Ghost Who Walks
July 11, 2015
There’s a wonderful revelation at the end involving Kattappa (Sathyaraj, who has the most moving part and aces it)
I think these nice touches made a lot of difference to my viewing experience. How I wish the writing wasn’t so lazy in the almost rapey romantic portions..
I read SS Rajamouli say that he thinks he is a good story teller and not that good a film maker. I was quite surprised, because I felt it’s the exact opposite.
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Santosh Kumar T K
July 11, 2015
unrelated yet:
three evenings . three films . Q&A . richard pena . the madras talkies man . new york city .
excited as hell!
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Anil Kumar
July 11, 2015
MANK, I want to add few comments on Bahubali and Telugu tamil films
Regarding Bahubali, I have not seen the film, so can’t comment but seen the trailers and promos. On casting I feel Rana and Prabhas are correct (though they have some short comings) and I dont see any other alternative actors in telugu, tamil, hindi. Who among telugu and Tamil heroes or even hindi can fit the roles i.e. someone with 6 feet height and physique and devote 3 years of effort?
In Tamil Vikram can do but not sure if can be suited for the romantic track and prince charming. Suriya is a excellent actor but he doesn’t have height and physique. Also not sure if they can devote 3 years of effort. Vijay, Dhanush, Vijay Sethupathi, Vishal, Vikram prabhu can’t be suited considering the reasons mentioned. They do general mass masala movies with experiments though sometimes.
Coming to acting Yes Prabhas is not a great actor in Telugu who emotes well with intensity (though he is improving). He is a actor with physique and height, someone like John Abhraham of hindi, but better than him. In Telugu as mentioned Mahesh babu is polished and can’t be suitable for bahubali. same with Pawan Kalyan. The good actor in telugu among young generation who does different kinds of acting in my opinion (action, comedy, intensity) is Junior NTR. He is not known much to Tamil Audiences as he does only Mass Masala movies and also he wastes his talent with it.He emotes well and has excellent acting skills but doesn’t have the height for this role
Coming to choice of movies, Yes definetly Tamil stars are doing some experiments and telugu heroes want to be on safe side by not attempting experimental movies. Dhanush does different types of movies. I’m yet to see a equivalent of Dhanush in Telugu. Now a days few actors are coming like Nani, Sandeep etc in Telugu who are treying to experiment. On Talent everyone has some talent or other. It depends on how you capitalise your acting (depends on director). My personal opinion is Suriya and Vikram are good actors in Tamil who try to be different and also have very good acting skills.
On the market I want to add few points. I feel Telugu and Tamil domestic markets (AP+TS, TN and border districts of Karnataka) are almost the same. However tamil film makers are good at marketing and they improved the market in telugu by dubbed movies. There is a reason for it. It started with Rajani and Kamal. They acted in Hindi and Telugu movies before and they are aquainted with Telugu audiencies and some of their dubbed tamil movies ran well. Now telugu film makers realised and started doing it. On International market Tamil has slight edge due to Srilankan tamil population and migrants in Europe and Malaysia/Singapore etc
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Pranesh
July 11, 2015
@Mank you’re totally wrong about the international market of Telugu movies. My sample size is 1, but Telugu movies are much larger here in the US.
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peru
July 12, 2015
@Rekhs: Yes, I did. Worked for most parts. But we were lol-ing throughout songs. I guess its better not to subtitle songs (in any tamil/telugu movies in general) as from my experiences it always leads to roflmax translations in english.
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doctorhari
July 12, 2015
Most of Rajamouli’s films seem to follow a similar template – a revenge saga where the second version of the hero finishes off the job the first version couldn’t. However where he specialises in, I feel, is creating these hyper-emotional set-pieces within that, which make us feel whipped up and also makes us chuckle within at the same time (Think of the scenes in Siruthai). This being a raja-rani story, those stuff gelled well with the narrative without protruding out too much. However, though it was good as a visual treat, that feeling of having watched it all before didn’t allow me to fully get involved with the film. If you compare this to, say, Shankar’s Robot – another film with such big, audacious vision – I would rate the latter higher, as the script was really fresh, and the CGI work too was a few notches higher. (Of course, no comparing this with ‘I’). But have to say that, despite all the shortcomings, Indian cinema needs such directors who are not afraid to think big.
As an aside – I noticed the letters ‘CGI’ appear on the screen whenever an animal is shown in the movie. Hmm, first it was warning for smoking and drinking, and now this! Wondering where this silliness would end. Wouldn’t be too surprised if tomorrow the censors extend the scope of these disclaimers further – ‘Those harsh words were used by the villain towards the hero’s mother only for acting purposes. Using such words is hurtful to people’s feelings.’ Imagine.. ☺
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Bipin Ragu
July 12, 2015
Mr. Rangan: Did you notice the “CGI” watermark on the bottom left of the screen that accompanied the scenes with animals? EVEN the scene with Rana and that obviously-fantastic bull(?)!
CBFC seems to have gone full retard, if this was indeed their doing. Thoughts?
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di
July 12, 2015
Line of the blog
“Some conventions are sacrosanct – you don’t mess around with them even if you’re SS Rajamouli.”
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Botched Plan B
July 12, 2015
Reblogged this on Botchedplanb's Blog and commented:
Haven’t seen Baahubali yet, but here is the review of the movie by National award-winning critic, Bharadwaj Rangan. Seems like the movie doesn’t let the audience or critics down.
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Aswin raj (@Aswinfreeze)
July 12, 2015
@ThouShaltNot It is not the size of the industry that matters, but the quality of movies it produces. In that case I guess Tamil and Malayalam industries fare better by providing variety of genres and subjects.
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ThouShaltNot
July 12, 2015
@Aswin raj : When the discussion is about size, size matters, when the discussion is about quality, quality matters (although its definition can be more nebulous) and when the discussion is about revenues, both might matter. I was responding to an earlier comment about size difference and hence my remark was a narrow one.
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Anuj
July 12, 2015
@MANK : There’s a difference between “gross” and “share”. Distributor share is usually 50-55% of the “nett gross”. In bollywood, the nett gross is usually 25% lower than the “total gross”. Which basically means that if u pay INR 100 to buy a ticket. 100 will be considered as the “total gross” while the nett would be about 75. When we speak of the 100 cr/200 cr club etc, its always the nett gross that’s taken into consideration. For example, PK has an all India nett collection of INR 330 cr which implies that the total gross would be around 420 cr and the distributor share would be around 50% of 330 ie 165 cr. In tamil & telugu cinema though, nett gross is usually equal to total gross as most movies go tax free in Andhra/Nizam and TN respectively. The highest grossing telugu movie of 2014 was Race Gurram with a nett collection of approx 100 cr and a share of 55 cr. Telugu movies have a larger market and production cost than tamil films apart from the Kamal and Rajni one’s.
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ideallaedi
July 12, 2015
@rekhs : I watched the telugu movie with subtitles and liked it. Might see the tamil version later but I think it might work better in telugu for me. I’ll probably find the different tamil dialects being spoken a little too distracting whereas I don’t know that much telugu to spot differences if any.
Also I dislike this “dubbing over by a completely different actor” phenomenon and prefer to watch a film in its “own” language
A question :
Who has dubbed for the leads in tamil. Atleast the male leads [The female leads in Tamil/Telugu seem to have one uniform voice. Maybe catering to the “ideal woman” idea as seen and heard by the “common man” . And this is even when the actress is fluent in the language (case in point : Sneha, Regina Cassandra etc) So not even going there ]
There seems to be no information regarding this. In fact, there always seems to be zero information about the dubbing artistes used in any film unless you look closely at the end credits with a hawk eye!
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The Ghost Who Walks
July 12, 2015
@ Docrorhari
Shankar’s Robot – another film with such big, audacious vision – I would rate the latter higher, as the script was really fresh, and the CGI work too was a few notches higher.
Really?? Robot was the movie that came to my mind while watching this and I felt Robot’s CGI was like an amateur stage play in comparison. What is the general opinion about this??
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Utkal
July 12, 2015
Unlike most critics I think the first half of Baahubali utterly delightful and is an intrinsic component of Rajamouli’s intended narrative structure. After all what does the second half have? A brilliantly conceived and executed war scene. But at the end of the day, it is just a single note – war. That would be okay in the Hollywood aesthetics but we Indians do it differently. I mean Mahabharat is nt just the war. The actual war is such a small part of Mahabharata. The epic is an epic, because it is about human relationship – relationship between man and woman, between parents and child, between brothers, between guru and shishya – , because it is about morality and ethics, because it is about statecraft and politics. This is how Mahabharata is different from Illiad and Odyssey. Unlike the latter, Mahabharata is not just about heroes – Draupadi, Kunti, Gandhari…they too add texture to its vast canvas. Unlike Western epics and Hollywood, women play a part in war tales of Bollywood and the Indian epics. Without the romance between Baahubali and Avantika it would be a dry Hollywood-style film. That’s the difference betweena China Gate and Sholay —China Gate is a none-note film, Sholay is a symphony.
And the romance in Baahubali is so refreshing. The underwater scene where Baahubali etches the signature morif on Avantika’s wrist while fish nibble at Avantika’s fingers is magical…rivalling Mughal-e-Azam’s feature scene is delicate eroticism. The playful antic with the snake saves Baahubali from being just a boring warrior, and Avantika’s response establishes her gritty character. I like the second half…after all the film was building upto that climax…and the production design innovations are very much in the lane of Mad Max – Fury Road…but I think the first half was the perfect launch pad fir this relentless climax and absolutely needed to balance the war preoccupation of the second half. In fact it is this Indianness that differentiates Rajamouli from so many tech-savvy filmmakers in Bollywood who try to mount lavish action films. Even in a cleverly written revenge saga like Eega, Rajamouli manages to craft some ethereal moments of delicate romance involving the fly and the girl. That is what brings tears to your eyes. An in Indian creative canon, it is not art if it cannot bring a tear to your eyes. The first part of Baahubali hasn’t done it, I hope the second half does, if it hopes to live on in the collective memory as a classic.
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Mikko
July 13, 2015
@Rekhs The subtitles were better than in most of other Telugu movies that I’ve seen! 🙂 I disagree with the earlier commenter who didn’t want to see subtitles in songs – I want to know what they sing about as I don’t know the language and the songs are so big part of the films.
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Rekhs
July 13, 2015
thanks mikko, let me introduce myself, sorry BR to take up ur blog space but this is in reference to subs
I have subtitled 280 films from VTV to papanasam till date (inclusive of 20 odd telugu films (rudhramadevi now) and 75 malayalam films.) Find kannada industry hasnt opened its eyes to the need for subs:( Like mikko I feel v strongly that songs shd b subbed w/o making viewers want to lol they r an ethnic feature of our films and unique do look into youtube rekhs subtitlist to know my way of subbing songs I personally feel, a film with such worldwide reach definitely more theaters shd have released with subs Esp gulf countries it was released with only arabic while dual is the order of the day now (eng + arabic) Most places didnt play with subs, esp N.india mayb cos of the hindi version round the corner But cos of a Hindi version do we release in other regional languages w/o music, or final mix When will subs become an integral part of film making and not be thot of as a disturbance or distraction! I am sure an avid film buff who watched a tamil or telugu version with subs will still watch the hindi version out of curiosity
I just wanted fdbk from the audience as an eyeopener
thank u
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MANK
July 13, 2015
Thanks everyone for pitching in their thoughts on the Telugu \tamil box office scale. It was very informative.
Anuj, I get that. I actually was comparing a kamal Tamil film against an SSR Telugu film in the context of kamal failing to mount much of his ambitious productions. I guess I didn’t articulate it properly.
The thing that intrigues me about the Telugu industry is that the profit margins for even the biggest hits are so thin – as you said race gurram return 55 crores on a budget of 40 – 45 crores – while the flops are just staggering – I believe distributors lost almost 70% of their investment in aagadu and rabhasa- how does the industry keep going like this.
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venkatesh
July 13, 2015
Rekhs: With due respect for all the work that you do , may i make a small suggestion ? Please do not write comments here like you are writing a twitter feed. It just makes it hard to read. We have no word limit here.
MANK: The real ROI of movies (Tamil or Telugu or Hindi) is a big mystery. As an example a huge hit like Katthi while being a big earner was actually a loss-making proposition for the producer. The budget of vast majority of Tamil films with their given market reach is simply not sustainable.
In some respects this is an aspirational industry and works like a Multi-level-marketing. There is very little that is based on hard economics.
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MANK
July 13, 2015
Baahubali etches the signature morif on Avantika’s wrist while fish nibble at Avantika’s fingers is magical
Utkal, I don’t know about magical, but that’s extremely inconsistent of her character. She’s supposed to be this hot shot guirella warrior and she doesn’t even realize it when somebody’s tattooing her from above. Huh. if she was some dreamy princess, I would have bought into the magical thing. that’s what I found wrong in the film with elements working against each other. SSR wants this every which way, both as a genuine masala blockbuster and as an elegiac indulgent epic and it just falls flat in between.
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Rahini David
July 13, 2015
Anuja: “But I do believe she was referring solely to the male of the species”
Not necessarily. The only thing I find interesting here (apart from BR’s lines) is Tammanah in some gold bustier.
The only reason I endured Sivaji in the big screen is because Shriya Saran was some type of princess in Vaaji Vaaji song.
😀
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Srinivas
July 13, 2015
Why Prabhas? Is he really the best Telugu cinema could get for this part?
I will try to answer this question using my observations. And a disclaimer here.. I am not a fan of Prabhas. First check the following fight sequence from Prabhas starrer Varsham (the rain). For me two moments stand out. First one @2.50, Prabhas hits a moving auto and it falls down, and the second one around 5.20, where he pulls a boring pump road and hits villains with them.
Also, I would suggest you to watch the following scene from Chatrapathi which is directed by SS Rajamouli again. This fight sequence which comes before interval is permanently etched into most telugu audience memory. You can find many people who hate Chatrapathi as a movie, but this particular fight scene stands out where Prabhas beats Katraj (Supreet), who is shown built as a monster from the movie start.
What I am trying to convey is, with Prabhas few things become believable. If you see him lifting a huge linga or pushing a horse itself onto people (in Bahubali), I always think that it is doable for Prabhas, which is already built from his previous work.
After watching Magadheera, many of my friends that Prabhas as a warrior would have been more convincing than Ram Charan Tej.
Also Prabhas as a star has more blockbuster hits versus any macho telugu actor. His hits include Varsham, Chatrapathi, Billa, Darling, Mr. Perfect and Mirchi. At the end of the day more the star value, more the box office returns. Other super stars like Mahesh Babu, Pawan Kalyan, Allu Arjun or Jr. NTR are not suited for this Bahubali role.
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Utkal
July 13, 2015
Throughout, Rajamouli strikes a near-perfect balance between physicality and poetics. That waterfall becomes both mirror and measure of personal growth; one lingering slo-mo shot of a warrior’s chainmail in motion would stir a Zhang Yimou or Wong Kar-wai into renewed action. It’s merely cute when Baahubali plunges into a lake to paint the hand the dozing Avanthika has let slip into the waters, yet the action has a lovely pay-off: this impromptu tattoo is seen to complete one on the hero’s bicep during a later embrace. Unlike the committee scripting of, say, The Scorpion King, a lot of Baahubali appears to have been written in the stars.
And that’s finally the film’s appeal: it’s a throwback, the kind of peppy serial that would have graced the multiplex in the days before product-placement, billion-dollar PR campaigns and obligation 3D, when the sole components required for a blockbuster were a hero, a villain, a few fights, a few songs, and a happy ending. Rajamouli defers on the latter for now, but his skilful choreography of these elements shucks off any cynicism one might carry into Screen 1: wide-eyed and wondrous, his film could be a blockbuster reboot, or the first blockbuster ever made, a reinvigoration of archetypes that is always entertaining, and often thrilling, to behold. Roll on 2016.
http://www.theguardian.com/film/2015/jul/12/baahubali-the-beginning-review-fantastic-bang-for-your-buck-in-most-expensive-indian-movie-ever-made
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Anuj
July 13, 2015
“The thing that intrigues me about the Telugu industry is that the profit margins for even the biggest hits are so thin “
~ same applies to Hindi movies too. Dhoom 3 had an all India share of 140 cr against a total production cost of 150 cr. HNY had a share of 100 cr against a cost of 150 cr, Krrish 3 had a share of 100 cr against a cost of 120 cr while Kick had a share of 110 cr against a cost of 120 cr. These films that were conveniently passed of as Blockbusters and All Time Hits by the trade were actually just coverage films for many of the distributors in different territories. In fact, even certified hits in today’s times like ZNMD, BMB, Wanted and Barfi make losses to some distributors and exhibitors in some circuits here & there. That’s bound to happen with the massive print count and release size of movies these days. At least Tollywood trade does not pass off loss-makers as “successes”, much unlike the Hindi film industry where even lossmakers like Ra.1, Don 2, Rockstar and now Dil Dhadakne Do have been passed off as “successful movies” at the box office.
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Utkal
July 13, 2015
MANK: Just because she is a warrior does not mean she cannot be a dreamy princess. Maybe you should revisit Tagore’s Chitrangada. What t I admire about Rajanamouli is the detailing that he has worked on in that scene. First she is shown lying on the rock fora bitof refeshing rest, dipping her hnad into the balmy waters. Then we see little fish nibbling at her fingers. So it is a plausible scenarion for her not to notice the tattooing on her hand, mistaking it to be nibbling of the fish. It si poetic, and it si magical, I thought.
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Sriram
July 13, 2015
Charu Nivedita’s review in Dinamani:
Part 1 – http://www.dinamani.com/cinema/2015/07/12/%E0%AE%9A%E0%AE%BF%E0%AE%A9%E0%AE%BF%E0%AE%AE%E0%AE%BE%E0%AE%B5%E0%AE%BF%E0%AE%A9%E0%AF%8D-%E0%AE%95%E0%AE%B2%E0%AF%88-%E2%80%93-%E0%AE%AA%E0%AE%BE%E0%AE%95%E0%AF%81%E0%AE%AA%E0%AE%B2%E0%AE%BF%E0%AE%AF%E0%AF%88-%E0%AE%AE/article2916055.ece
Part 2 – http://www.dinamani.com/cinema/2015/07/13/%E0%AE%9A%E0%AE%BF%E0%AE%A9%E0%AE%BF%E0%AE%AE%E0%AE%BE%E0%AE%B5%E0%AE%BF%E0%AE%A9%E0%AF%8D-%E0%AE%95%E0%AE%B2%E0%AF%88-%E2%80%93-%E0%AE%AA%E0%AE%BE%E0%AE%95%E0%AF%81%E0%AE%AA%E0%AE%B2%E0%AE%BF%E0%AE%AF%E0%AF%88-%E0%AE%AE/article2918169.ece
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Saurabh
July 13, 2015
Rangan: Fantastic piece here Sir. The Guardian too seems to be saying something quite similar on the film-
“…New frontiers unfold before our eyes: one moment we’re witnessing mildly risqué canoodling in a forest of orchids, the next prowling the streets of a fortified city where hundreds of flogged and flogging extras have been charged with erecting a towering golden statue. (Again with the Moses comparisons.) The final 45 minutes roam a vast battlefield that, with its human shields and Boadicea-style murder chariots, makes Helms Deep resemble a punch-up in a chip shop. At each turn, the money’s right there on screen, yet what’s most striking is how these resources have been marshalled – to enhance, rather than clutter up, the narrative throughline…”
“…And that’s finally the film’s appeal: it’s a throwback, the kind of peppy serial that would have graced the multiplex in the days before product-placement, billion-dollar PR campaigns and obligation 3D, when the sole components required for a blockbuster were a hero, a villain, a few fights, a few songs, and a happy ending. Rajamouli defers on the latter for now, but his skilful choreography of these elements shucks off any cynicism one might carry into Screen 1: wide-eyed and wondrous, his film could be a blockbuster reboot, or the first blockbuster ever made, a reinvigoration of archetypes that is always entertaining, and often thrilling, to behold. Roll on 2016.”
http://www.theguardian.com/film/2015/jul/12/baahubali-the-beginning-review-fantastic-bang-for-your-buck-in-most-expensive-indian-movie-ever-made
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pran1990
July 13, 2015
@Rekhs: I know (from reading your articles on behindwoods) that you’re not a a teen; this blog has very few too I guess, so that sort of language is probably not necessary!
I’ve enjoyed almost all the movies you have subtitled (I always watch out for the ‘subtitled by’ at the end of the movie); an exception was Veeram. I’ll try to look back at the comments and try to figure out why I disliked it.
Also, I think it’s cool that you can speak all the four southern languages well enough to subtitle in all of them 🙂
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brangan
July 14, 2015
vijay: Oh, I don’t know. Sometimes, this is also a function of the “home” factor. There’s a certain no-pressure age, up to which everything registers strongly and intensely — all this is “home” for us. And after this age, we like things with less intensity, because of life/job pressures etc. We don’t have the kind of bandwidth to allow things to impact us the way they did earlier. So some of what you say could be that too.
But yes, overall I agree with your point that in MSV/IR’s prime a big movie automatically meant at least a few great songs, if not an overall great soundtrack.
sachita: Has Rajini really done more gravity defying
Of course. Almost every stunt sequence at a time had him leaping in the air and knocking out ten goons etc. Remember the one in Chandramukhi where he just moves his feet and creates some sort of tornado? 🙂
Anuja Chandramouli: In a masala movie, you check your brain at the door and strap yourself in for a fun ride. But this is too heavy for that.
Nope. You may do that with a certain kind of masala movie, but not necessarily with all masala movies. Masala isn’t just about “fun rides.” It’s about very deep, near-mythical emotions and actions. It’s about powerful echo shots, etc. And it can be “too heavy.” There’s nothing that says masala = popcorn.
Santosh Kumar T K: I didn’t understand your comment at all 🙂
Bipin Ragu: Yeah, that CGI watermark sucked. Crazy stuff.
The Ghost Who Walks: I feel Shankar has big ideas but lacks a consistent vision. So find a few grand moments (like the climax of Robot) and a lot of really bad filler stuff. You never find in his films that “organic” sense that’s there in Baahubali, where everything’s one of a piece.
MANK: Both tattooing scenes are “logical” within the masala-verse. The first time, she’s dozed off. The second time, she has her eyes on the snake. You have to take a bit of a leap of faith with these things 🙂
Rahini David: The only thing I find interesting here is Tammanah in some gold bustier.
Well, aren’t you full of surprises! 😀
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Srinivas R
July 14, 2015
Talking of great music .. RIP MSV.
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Rekhs
July 14, 2015
@Venkatesh and @Pran1990
I was not even aware I was using twitter lingo
sorry about that
Got nothing to do with thinking like a teenager! lol
I am an avid reader of BR’s reviews and probably
the 1st time I’ve pitched in my 2p at length here
Would be interesting to know why you disliked Veeram:)
Thanks BR for this space
I watch the films I haven’t subtitled only after I read your review!
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pran1990
July 14, 2015
@brangan/the ghost: I’ve always felt that Shankar, while great at imagining up some grand scenes, isn’t a very classy director. The clothing from ladio song from I/style from Sivaji are examples. He’ll go for skimpy dresses/nsfw moves over beautiful locales.
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Harish S
July 14, 2015
@BR I second you on the well-made masala film tag. This an organic masala film. The way masala works here is truly ingenious. A villain says in 25yrs your husband’s name has been erased out of the memory of the people and few scenes later we see the whole crowd chanting his name – revenge is sweet.
On a different note, I expected more depth in your analysis instead of this brushing strokes.
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Santosh Kumar T K
July 14, 2015
sorry!
http://variety.com/2015/film/news/mani-ratnam-tribute-set-at-museum-of-the-moving-image-1201517701/
http://www.movingimage.us/films/2015/07/31/detail/politics-as-spectacle-the-films-of-mani-ratnam/
i am going!
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raghavankartik
July 14, 2015
@pran1990, Oh I was talking only about the imagination and the execution of VFX in Enthiran and Baahubali. Because even when I watched Endhiran on screen, I wasn’t all that dazzled by the execution of the climax (I loved the imagination behind it though).
@BR, I do agree with what you are saying though, Shankar filler material is absolutely atrocious. I just about managed to keep from puking the popcorn during the Kalabhavan Mani Rape-is-so-funny scene. For that matter, his films are full of scenes that are so squirm inducing. I wonder why he keeps doing it. Even the worst Vivek comedy track is better than this. Surely, some one in his team must be telling him so!
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TheGhostWhoWallks
July 14, 2015
@Harish, Rajamouli’s films are full of Masala movie tropes. One important trope he uses again and again is the Muslim foe turned friend and variations of it. Some times they work, some times they don’t, but they are all there whether in Baahubali or his earlier movies like Sye and Magadheera. When these tropes work within the narrative of the movie, I think there is a special joy to be gotten.
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TheGhostWhoWallks
July 14, 2015
Aargh.. Why does my name appear different in two posts posted within minutes of each other??
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Anantha Krishnan
July 14, 2015
Saw the movie today… enjoyed it,especially the war sequences in the second half (which at times reminded me of the war scenes in lord of the rings 2…face of the villians is similar to that of orcs)… but how can you say that romance was good – Prabhas climbs the hills to meet Thamannah, He does various sketchwork on her body, Thamannah seeks ‘revenge’ for that and meets prabhas, she tries to kill him, He makes her understand that there is a hot girl hidden under that warrior outfits, She hugs him, then a song, then she becomes topless and…… seriously this worked for you???… but this might be Thamannah’s best effort till date though she is not that successful… prabhas was decent in some scenes though unimpressive overall…T he best perfo was from ramya krishnan, satyaraj and rana… and agree that the ending was superb… waiting for d 2nd part…
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Santosh Balakrishnan
July 14, 2015
A dream (aka) inspirational song (as midriff showing tamannah does inspire him to make the eventual jump/fly), mediocre dialogues, bad performances (but for ok satyaraj), stupidly conceived striptease, tasmac scene, an ill timed item song (with not 1 but 3 lasses), few other logic defying scenes (which rajini would normally perform in his sleep with more style 🙂 ) and most importantly such a poor BGM
all these, that normally await BR’s wrath are being praised here.. indeed a triumph of imagination for SSR… 🙂
The revelation in the climax, the snake scene, the snow storm and first portion of war segment stayed with me.. strangely rest all felt very flat…
P.S Never thought Rohini can act this badly..
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Ajith
July 14, 2015
Santosh Kumar T K – Interested to go as well..Couldn’t find a link to register/buy for the event?
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MANK
July 14, 2015
Brangan, well you loved the film so much that you are ready to take giant leaps of faith like accepting tamanna as a warrior princess who doesn’t realize when she’s tattooed. God wish I could too? I usually like a well told masala yarn, but I just couldn’t get into the rythm of this film. This one screamed pretentious epic to me rathet than unpretentious masala from frame one and just got worse up until the post interval section till those masala sequences started kicking in. honestly I have never liked any of SSR film except eega and always thought he was overrated. Magadheera was a terrible film with the only good thing being those flashback portions executed with technical finessefinesse. Guess he took a cue from that and set the entire film in fantasy land
But I guess one cannot argue with you about Indian fantasy films, after all you are the guy who loved Drona.
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Ravi K
July 15, 2015
Shankar’s best use of CGI was the climax of Enthiran. That was a fantastically imaginative sequence. Same with the Aishwarya Rai kidnapping sequence. Srinivas Mohan was also the VFX supervisor for that film.
While Shankar will do things like turn Rajini white in “Sivaji” or have overused bullet-time effects, Rajamouli’s use of VFX is more organic and has some sense of purpose. It’s not just to dazzle us with technical wizardry unrelated to the story, characters, or setting. In Shankar’s films too much of the usual filmi nonsense pops up, undercutting the interesting fundamental concepts of his films.
I only had one major problem with the film. The disrobing/Taming of the Shrew bit. Avantika falls for Shivudu way too easily, and the whole sequence was rather disturbing. Shivudu basically marks her as his, then he disrobes her and puts “make up” on her to feminize her. Then she basically disappears from the film. Avantika was way more interesting as a warrior until she met Shivudu. A better way for her to fall in love with him would have been for them to get into a fight, and she starts to fall for him because he’s the first man who was equal to or better than her in combat. For a film with so much going for it, this angle was treated just like in any mediocre masala film. In Part II hopefully Avantika gets to do some more ass-kicking, though I bet she’ll turn out to be pregnant.
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Siddarth Senthilkumaran
July 15, 2015
Ajith: Go to the second link that Santosh Kumar had posted and you will three separate links at the bottom of the page for the three screenings. You can get tickets within those links.
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Santosh Kumar T K
July 15, 2015
Ajith, the tickets are here:
https://1282.blackbaudhosting.com/1282/tickets?tab=2&txobjid=fa1a26e0-8a9e-4b22-8cb4-a4951b4fef23
https://1282.blackbaudhosting.com/1282/tickets?tab=2&txobjid=dea802a9-b939-43e2-9185-2bfc29267e53
https://1282.blackbaudhosting.com/1282/tickets?tab=2&txobjid=e9da38e6-d60e-48c5-a757-4298222f7ec1
BR, sorry for the hijack!
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Siddarth Senthilkumaran
July 15, 2015
Or better, here it is:
http://www.movingimage.us/films/2015/07/31/detail/politics-as-spectacle-the-films-of-mani-ratnam/
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Shankar
July 15, 2015
I watched the film today and thoroughly enjoyed it. I gotta give it to the director for his vision and grandeur. The relative lack of heft in the story did not bother me at all. I had couple of observations as well…
I watched the Tamil version and liked the fact that a lot of the close-ups had the actors mouth Tamil, including Prabhas and Rana. So, it seems like they took the effort to re-shoot the scenes with close-ups, keeping both languages in mind.
I liked that the Kalakeya tribe looked like the Mad Max characters. That was cool, IMO.
PS; Rajini’s gravity defying scene…my fav is from Rajadhi Raja! :-). The fight begins at the 3.05 mark in this video though the gravity defying stunt is at the 6.20 mark. Enjoy! 🙂
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Anu Warrier
July 15, 2015
I watched the film today, and had a blast. Even though I wish that someone else had done the role of Bahubali. And that Avantika hadn’t fallen for him so easily that she was willing to let go her aim, her goal in life – to free Devasenai. If it was necessary that Sivudu frees her according to her belief that only her son can/should free her, there was no need to minimise Avantika’s role to get Sivudu to go. I mean, she fights for her right to go free the queen; why does she give it up so easily? And why, the minute she meets Sivudu does she need him to save her? 😦
MANK, he’s not tattoing the design on her hand or shoulder; he’s painting it on. So, underwater, it is quite possible that she thinks it is the fish nibbling at her hand. And the second time, she’s focusing on the snake; you can actually see him dip his brush into his cupped palm as he draws on the design.
And if anyone sees this at this late stage – who is the will o’ the wisp who entices Sivudu up the waterfall. I know it looks like Avantika, but she seems to be flying around the place, and vanishes at will and is more like a fantasy than the real Avantika who is shown to be a warrior.
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Madhu
July 15, 2015
@Anuja:
Plus as a huge fan of Rajamouli’s Magadheera and Eega, I thought Bahubaali was his most self – indulgent film to date.
Magadheera’s heroine is a princess who declares that she would go into war for her father’s and her motherland’s sake. But, when words need to be turned to deed, it is the hero who actually does that. She is reduced to the typical fragile, docile female whose dupatta is stolen by the villain and needs the hero to rescue both the duppatta and her ‘virtue’ as a consequence. Her bravery or even an attempt of it is nipped right in the bud or worse, is never really there.
When compared to this, Bahubali’s women are shades better. Avantika is a focused warrior until she meets Shivudu, who tames her (I just hated that taming the shrew dance, yuck) and makes her fall in love with him. After which, much like Anu complained, I don’t understand why she needed to lose her focus and warrior skills! Yes, explanations are thrown here and there – she did think of her youth and beauty before she met Shivudu (the scene where she muddies the water to stop seeing her reflection) and because she was upset with the fact that she has drugged and left Shivudu, she loses concentration and gets caught. And her legs are hurt, so she needs Shivudu’s help for her to achieve her goal.
But, compared to Magadheera, at least we get a scene here that she is indeed an established warrior. She at least gets to say a dialogue that her heart and mind are at war. She is not that Magadheera princess who is totally uncaring about the threat her motherland is facing. Take Devasena, she is exactly a grown up version of that Magadheera’s princess. There is this man (Kattappa) who tells her that he is ready to get her to safety, but no, she needs her son to do it. This is such a Sita-ish complex – only needs Ram to rescue her and not Hanuman. I mean, why? But, I don’t want to judge her too harsh before knowing her back story. May be she has an explanation for it and the right reasons. Who knows?
But, Sivagami fascinates me. This is a woman who has enough grit to cut a man’s throat, with her son in the other arm to boot. It is pretty much obvious that she is trained to kill soldier as well. She is capable of ruling the land without a fleck of an issue. But, she refuses to ascend that throne and keeps nurturing two princes for the same reason. The final word from all these womenfolk of this film is that, they are gritty (I am willing to give Devasena the benefit of doubt), courageous, focused, can handle a sticky situation. But, they are entrenched in the patriarchal society of theirs to think that the final savior ought to be the man – Bahubali. The movie after all is ‘Bahubali’, not a woman’s name or even Magizhmadhi. This is oh, so definitely a hero-worshipping masala movie. The only difference is that the women here are not just pretty dolls; they do have their duty, just that it is not as important enough as the hero’s.
So, when you are calling it But this is too heavy for that. I am disagreeing with you. I hated the ‘taming the shrew’ portion. It was so unwarranted for. But, it didn’t put me off the movie, mainly because, the hero doesn’t belittle her goals. But, other than that, I wouldn’t call it heavy. It is just a masala movie with interesting characters here and there and one good plot twist. And visuals, amazing, amazing visuals. And that war portion was beautiful.
By the way, I liked Magadheera and loved Eega. I haven’t yet seen a Rajamouli flick which has disappointed me. It is just that I didn’t find the Bahubali’s plot or the characters that different from Magadheera/Eega, in terms of the tone. They are all the hero-centric, hero-worshipping, fantasy movies. So, when you called this movie to be a Ben-Hur wannabe, I was surprised. Hence this long, long comment.
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Nivazr
July 15, 2015
“Then again, one way to experience Baahubali is to simply block out the sound (Maragatha Mani’s tunes aren’t very memorable) and imagine you’re watching the most spectacular silent movie of all time”
Seriously!!??? i dont get it… how can you say that.. what if there no music in the climax war sequences?? without music you cant connect the emotions..
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Utkal
July 15, 2015
“Then again, one way to experience Baahubali is to simply block out the sound (Maragatha Mani’s tunes aren’t very memorable) and imagine you’re watching the most spectacular silent movie of all time”
Yes, totally unfair. THe songs are just aboit okay. But the background score is awesome.
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Harish S
July 15, 2015
@theghostwhowalks: i wasn’t a big fan of Rajamouli earlier. all his movies including Magadheera had only a segment of the film well made while the rest being trash. only in his last 3 films he has given a full length entertainer.
@all: i sense a general hatred towards tamanah’s role. I (again) second BR’s view here. Yes she looks funny whenever she does the military walk. But look at how the must-haves of our films is integrated into this script. Instead of seeing a beautiful girl-fall in love-make love-gudbye before war formula – Rajamouli makes her the bridge between the village below the waterfall & the warland. Also look at the lake scene. She lies down tired and goes to that phase where she is half awake to react to the tickling due to the tattooing process yet asleep. The director gives a lot of focus to her reactions alone. In the same way for the snake scene, he establishes that her focus is on the snake and not the tickling in the shoulder. In both these scenes the director is respecting us and innovating the usual – putting tattoo to a sleeping heroine at the night.
In short, how I read these scenes and the whole film to an extent is how innovative Rajamouli is in refreshing the age-old tropes. The most important point here is his upgradation isn’t on your face like a K V Anand upgrade. It fits so well in the whole film’s tone.
PS: I don’t have any answer to the sexual harassment scene. It is the Rajamouli of vikramarkudu & Chatrapati in full flow.
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Bellam_Avakaya
July 16, 2015
To deconstruct some areas of Baahubali you’d require a watching of Sye, Maghadheera, Chatrapathi (directed by Rajamouli) and Bujjigadu (a puri jaganath film starring Prabhas).
Prabhas’s acting/mannerisms in the first half of the movie aka the seeking adventure/romantic are very inspired from his mannerisms/acting in from Bujjigadu.
How do we know Tammanah is a bad-ass guerrilla warrior… she knifes a guy, walks with chest outstretched stance like a proud warrior but for all her warrior prowess she sure does suck when it come to ‘not getting tattooed’ and what role does the mask play…(shove it on your face while making a pledge with your arms outstretched ?) ..and so many jarring edits..where does he store the mask while he is climbing up the water falls ? where does he get his change of clothes after making it to the top of the mountain ?
Tammanah finds him sleeping when in her battle skin hide but by the time she makes her way to attack him she is wearing green clothes ? and after the whole molest the girl to bring out the beauty she’s hiding and the song (btw a brilliant tribute to Ragahavendra Rao’s fruit songs) Tammanah shoves a ‘this will make you faint flower’ but the hero is back in the next scene to save the damsel in distress.
In the movie Chatrapathi (Prabahs starer directed by Rajamouli) our hero after killing a semi-major villain is proclaimed ‘Chatrapathi’ by the port area folk and it rains…like a lot. In this movie Satyaraj after glimpsing the face of our hero in a torrential rain proclaims him ‘Baahubali’. The way the scene is shot bears an uncanny resemblance to Chatrapathi.
In the movie Sye (Nitin starer directed by Rajamouli) a collegiate rugby team is losing badly against the land-mafia bad guys rugby team the coach kankala gives a rousing speech which pretty much gives our players a nitro boost to go win the game.
When Baahubali gives a rousing speech to the fleeing troops the camera captures reactions on the troops faces..this shot also bears an uncanny resemblance to the similar scene in Sye..the speech though in the same vein is lackluster compared to the one in Sye. And as I type this I remember in Sye too there is a guy on crutches who stands up ..just like the solider who has lost a leg but bashes on regardless because he’s been infused with new energy.
Ramya Krishna is supposedly a shrewd politician….we know this how ? Because she carries a dagger and bought off foot soldiers that supported the dissenters.
The scene where Rajamouli makes a cameo as a Barkeep I feel is meta commentary on how this movie came about to be.
Prabhas comes to Rajamouli: “Anna, we have to make something big.” Rajamouli “Another Sye ?” Prabhas” Bigger.” Rajamouli “Another Chatrapathi?” Prabhas” Bigger.” ” Rajamouli ” Another Magadheera? ” Prabhas” Bigger.” Raghavendhra Rao sneaks up on this trio between their conversation ” Shut up and take my money.”
At the end of the day Baahubali is a beautiful movie to look at. That’s all. I love the investment in graphics. If only they’d invested in a proper story as well rather than sticking to ‘plausible’ mythology and old granny tales circlejerk.
Jai Mahishmati _/_
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venkatesh
July 16, 2015
Totally OTT : there are mass masala scenes and there is
You can;t touch this.
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Ravi K
July 16, 2015
I quite liked the songs in Telugu, though for some reason I didn’t like them that much in Tamil. “Manohari” was surprisingly melodic for an item number.
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brangan
July 16, 2015
People: A silent movie is one without dialogues. Not necessarily without sound. There are many silents with a score. I was making this comment based on the uninspiring quality of Prabhas’s battleground speech — not the score. (Though yes, I didn’t care much for the songs.)
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Brad
July 16, 2015
There doesn’t seem to be a geographical continuity to the landscape of the movie. Such detailing is essential to the immersion in mythical movies such as these and it is jarring to watch it on screen.
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Ravi K
July 16, 2015
Here is an interesting take on the film, WRT women, caste, and religion:
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Shankar
July 16, 2015
I wonder what the team behind “Rudhramadevi” is going through now. The huge success of Baahubali is sure to cast a dampener on their plans. Plus all the inevitable comparisons that will follow due to a similar star cast, story background etc. Is the market big enough to accept both films? It also doesn’t help that Baahubali is in two parts with the second part coming next year.
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Subbu
July 18, 2015
It seems straight out of Mahabharat. Pingala deva is dhiridhastra. Kattappa is Bhisma. bhaubali is bheema & Bhallaladeva is Duryodhana.
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ThouShaltNot
July 18, 2015
My impressions of the Tamil version: Baahubali is a period fantasy masaala. And a good one. IMO, there are few who do masaala (fantasy masaala in particular) as well as SS Rajamouli. His handling of scale (small and large) is jaw-droppingly magnificent. There is another guy who is all about grandiosity in his films (he has perfected the overkill), but he has so far not matched SSR’s skills at storytelling. Despite the standard templates SSR uses in his films, he has the knack of keeping the viewer engrossed. Exhilarated, rather. Tamanaah finally shows flickers of acting skills. Ramya Krishnan reprises her tough-as-nails avatar we are used to, whereas Anushka has very little to show for in this edition (but for her face roiled in dirt). Rana doesn’t speak much, but is menacing and Prabhas, despite all the muscular daredevilry in regal costumes, is a genial fellow and it shows. Nasser rarely ever disappoints and Satyaraj was the best of the lot. Lastly, for Rajamouli, Kudos!
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rekhs
July 19, 2015
@rekhs: I don’t have any grudge against songs as such to be clear. I just felt the translations (no matter how good a job one does) doesn’t work for songs. Maybe there is a better way out there, other than subtitles for the songs !
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Rahini David
July 19, 2015
Are two people using the name rekhs here?
Not fair.
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Nitin
July 19, 2015
Very surprised that u did not mention that the movie is heavily inspired from Hindu mythology. Our Gods (Shiva prominently among others), our epics (Mahabharata), our temples (d architecture), our traditions (family God, animal sacrifice, the music, the dances etc)
What a movie!
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peru
July 19, 2015
Oops I am so sorry. I copy pasted the namely wrongly twice. The comment on July 19, 2015 under the name ‘rekhs’ was actually by me.
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udhaysankar
July 19, 2015
Caught the movie in both the languages. The telugu one felt more authentic and prabhas was more convincing in Telugu. Part of the reason is he is a native speaker of telugu, and the dialogues too had more bite and sting than his tamil dialogues. Plus his voice sounded more sweet and childish for Tamil. At some parts instead of going with new dialogues in Tamil, they have attempted to translate the ones in telugu to Tamil. But the lip sync in Tamil was truly astounding. The same tunes which I felt were bad in tamil, felt okayish in Telugu. They have made an earnest effort to make tamil viewers feel at home. But, If had to summarize and explain it the BR way, the telugu version felt more ‘organic’ and ‘one of an piece’.
Coming to the main picture, rarely have I seen such inventiveness and technical wizardry employed to an one line story with such passion and rigour. Inspite of being the director being aware that these are cliches, he goes all the way with it, never looking back.Everything in this mythical zone has an sense of being larger than life. The lingam he lifts, the jump that he makes to reach Tammana (Her skin-tone certainly looked out of place. She was far too fair for an guerilla warrior.), the swing of his sword that detaches an head. This sense of largeness is so consistent that they never felt out of place. The film was also scored very well.
I couldn’t resist comparing both shankar and Rajamouli, and shankar could learn something from his counterpart, especially with his obsessiveness to use lots of effort and money to the unimportant stuff that contribute the least to the narrative arc.
The funniest experience for me was with my 8 year old cousin whom I had accompanied to the movie.
cousin: Ippo sanda podra bahubali dhaan siva oda appa vaa naa?
me: Amaam di
cousin: Avanga rendu perum eppadi ore maadhiri irukaanga?
me: padathula appadi dhaan..
cousin: avanga thaatha dhaana andha photo’la irundhadhu..
me: amaam..(irritated..)
cousin: avangalum ore maadhiri irukaanga?
me: indha vamsathula purandha ella pasangalum appa maadhiri dhaan iruppaanga..
cousin: Appo girls ellarume en amma maadhiri irukkuradhu illa?
me: enaa avanga hero’va nadikkuradhu illa..adhaan
cousin: enakku indha padam pudikkave illa.Appadi boys appa maadhiri irundha girlsum amma maadhiri dhaana irukkanum.padathulayum partiality.
me: vitru maa thaaye,enna padam paakka vidu.
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Rekhs
July 20, 2015
Peru: Thanks for the clarification. i was wondering how my name cropped up 😦
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Rekhs
July 20, 2015
“I don’t have any grudge against songs as such to be clear. I just felt the translations (no matter how good a job one does) doesn’t work for songs. Maybe there is a better way out there, other than subtitles for the songs !”
Cos i wldnt say so as i dont subscribe to it with all due respects to the one who posted it !!!
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SN
July 20, 2015
I saw this over the weekend in Telugu (I speak Telugu) and it was great I thought – every movie will have its WTF moments but then I think the whole was quite amazing. One of my friends (who is north Indian BTW) remarked that this movie will be remembered in the league of Sholay or Mughal-e-Azam for Indian cinema – not sure I buy that but this certainly was audacious vision executed beautifully.
One small thing that I felt was a “wow” moment (about the detailing that went into the movie) was the language that the enemies spoke – that was a good contrivance and there was thought that went behind it. There are tribes in Africa that speak in clicks and it wasn’t a coincidence I think that the hordes were all dark skinned. I was just pleased (particularly with the second half) with how everything fit together – the war choreography was probably the best I have ever seen in an Indian context (before everyone starts comparing LOTR, etc.). Satyaraj and Ramya were very good. I was much more interested to see Anushka than Tamannah but I guess I will have to wait till next year!!
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brangan
July 23, 2015
Posted by Utkal in the Bajrangi Bhaijaan thread. Copy-pasting it here:
The story continues in ‘The Conclusion’ (the movie I watched is “The Beginning’). What struck me is the idea of male attractiveness as defined by mainstream Bollywood… and how differently it is exploited in a movie like ‘Baahubali’, which is unashamedly driven by testosterone. Prabhas and Rana Daggubati look great! And far more attractive than some of the overpaid Bolllywood wimps we watch in mediocre films. These two fit their respective roles perfectly, and play macho warriors with enormous flair and credibility.
Granted, the love songs could have been avoided, but the romancing was pretty creative (underwater doodles on a sweetheart’s slim hand, while she sleeps). I fell big-time for the fantasy. And I loved the Rajmata’s exquisite nine-yards ki kashta sarees (you need a great bum for this saree style to work).
Now to the downside – of course, the film is shamelessly racist (the dreaded dushman from across the border are blackened faced tribals resembling Zulu warriors from old Hollywood movies). The unwashed, uncouth, barbaric warriors fight Baahubali’s army, impeccably turned out like Roman gladiators! Yup. That crude. That obvious.
The movie is sexist, too. But no more than most movies. The women are powerful, alluring and courageous, ferociously taking on adversaries and putting up a pretty tough fight – make-up and hair intact!
Haan bhai! ‘Baahubali’ racist hai. Sexist hai. Sab kuch hai. Toh bhi picture achchi lagi! What to do???
http://www.ndtv.com/opinion/baahubali-racist-sexist-and-utterly-unmissable-784514?pfrom=home-lateststories
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brangan
July 26, 2015
“The emergence of Narendra Modi as the unquestioned leader of what is seen as a resurgent India is one such choreographed success story. I neither approve nor disapprove of the choreography; this is only an observation. India is today experiencing a political narrative that is blowing itself to a larger-than-life scale; it is truly mega-budget…”
http://www.openthemagazine.com/article/voices/baahubali-an-epic-for-the-right-times
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ThouShaltNot
July 26, 2015
Is finding a meta-narrative in everything the latest fad in town? Kamal (or whoever else), what have you wrought?!
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Madhu
July 26, 2015
And people say that you read too much into a movie, BR! When imaginative minds are at work, even the most generic of masala entertainer stories become a hidden agenda in political and social happenings.
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MANK
July 26, 2015
Brangan, that sounded beyond meta, that sounded plain stupid, until I saw this
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MANK
July 27, 2015
Quite a funny take on this film
http://greatbong.net/2015/07/27/baahubali-the-beginning-the-review/
I sorta agree
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ThouShaltNot
July 27, 2015
A politician associating with a “winner” of the moment or anyone with a following is predictable. Beyond that, drawing straight lines to SSRs fantasies (NaMo = Baahubali, MMS = Ee) is good for laughs.
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Kannan Baskar
July 28, 2015
Dear BR,
This is a comment I have been working on for quite some time, now. It is regarding the movie Baahubali. Got to see it about a week ago. This was the first time I had a difficulty in obtaining a ticket for an Indian movie in the US. So I was quite curious about the movie’s aesthetic appeal. Unfortunately I was highly disappointed. I did get to read your review before hand and I thought you kind of did like the movie; most of my friends and relatives liked it as well. In retrospect, I found that I was able to detect a number of reasons, which I could attribute to have caused my misgivings and reservations. I would be much obliged if you could give your opinion on this comment of mine. To aid in articulating my comment I did some research by watching and analyzing other movies from India, Hollywood, and world cinema from the fantasy/mythological/ action genre. I also did some relevant reading on the Internet. The following reasons, I think, might have lead to the aesthetic let down.
The look: The color grading and the exceedingly video-like digital look, in my opinion, did not do a good job in drawing me into the world of Baahubali. I felt that the director, with so much of finances at his disposal, could have shot it on film stock (IMAX if possible). I do understand that we do not have many IMAX theaters in India, but even normal digital 2k renderings of movies shot on IMAX have a far better contrast, resolution and aesthetic appeal than movies shot in digital (recent movies of Nolan are examples. The film look, with the grain, the contrast and color rendering definitely does a far better job at suspending your disbelief than digital does. The look of some of the movies in this genre such as: Gladiator, Noah by Aronofsky, John Woo’s Red cliff, and Santosh Sivan’s Urumi, did a far better job at drawing me into their narrative world than Baahubali did. At times it made me feel like I was watching a video game on a large screen.
I also felt that the director and production designer could have given a more mythological and fantastical feel to the movie, if that is what they intended to, by giving it a graphic novel feel (as in 300, once again the first edition of 300 was shot on film stock). I feel when a filmmaker is dealing with such non-mimetic scripts; he has to find various ways through which he can maintain the audience in this heightened state of suspended disbelief. If he fails to do it, then, all he ends up doing is detaching the audience emotionally from the story and the spectator is marveling at the grandiosity and not feeling for the characters.
Injudicious use and integration of CGI:
CGI, Chromascreen, motion capture are all great technologies that a filmmaker of the 21st century is armed with. However, these are just tools, you need a highly creative mind (such as Nolan’s or Mallick’s) to exploit them aptly to realize a cinematic vision. The falls in Baahubali was a big let down for me. Of course it did appear enormous and fantastic, but in my opinion, it was not seamlessly composited. The falls plays an important role in the screenplay, in my opinion, it is the first obstacle that the protagonist has to over come in order to attain his goal. If, as I had mentioned earlier, the whole background and the look of the film were that of a graphic novel this falls would have accentuated the appeal. The filmmaker is kind of stuck in a limbo of sorts, neither does he want to go for a full-blown graphic novel look, nor does he want to experiment with a realistic backdrop. It is apparent that he has shot some scenes on location, some of them on set, and some with green screen or blue screen, but post production it has been tough going to merge and composite all these images into an authentic wholesome with a uniform look. Occasionally you feel like you are in video game land, occasionally on the sets or occasionally in athirapally falls. I feel there are a lot of locations around the world with high and enormous looking water falls. Why not take extra pains to shoot in these spots if you are going for a realistic look. Raavanan was shot beautifully in one such falls. In the end, I feel the filmmaker was constantly debating between a full-blown graphic novel look and a totally realistic one.
I also felt there was indiscriminate use of CGI for things such as fire and gore in the battlefield. This once again kind of detaches you rather than drawing you into the narrative. One of the best scenes of battle that I have watched in recent times is from Gladiator, the battle in which the romans defeat the Germanic tribes. It is relatively short, but it gets into you, you start to feel for the soldiers. Similarly in 300, a film with a more fantastic backdrop, the second battle with the Persian king’s army is immaculately shot and once again affects you emotionally.
The much hyped bull scene to was once again a disappointment; I felt there were problems in compositing and seamlessly integrating the bull’s image. I am compelled here to compare this scene with that of the wolf scene in 300, were the young Gerard butler kills the wolf. I am sure that the CGI used for creating the Bull was much more advanced than that of the wolf, but the graphic novel background complemented the wolf’s appearance, it made it more relevant aesthetically and emotionally.
Inferior casting: This I felt was the “unkindest cut of all”, a big let down. Prabhas, pardon the expression, sucks as the protagonist. Movies such as Gladiator and 300 affect you not just because of the filmmaking but also due to the acting of the protagonist, the intense eyes and expression of Gerard butler and Russel Crowe keep you glued to your seats. The actors seem to have concentrated more on body building rather than working on their histrionic skills. In such mythological movies, it is but natural that you would have a lot of solemn speeches and melodramatic moments, but to carry such narratives you need actors who can perform effortlessly; with immense screen presence, persona, and loads of charisma. If this is not the case the whole movie appears mannered and stagy, unfortunately this is the case in Baahubali. Tamannah and Anushka are laughable to say the least. I felt even seasoned actors such as Nasser were ill directed and miscasted. Ramya Krishnan was the saving grace; she has all the screen presence and histrionic skills to carry out her role. She oozes in confidence when she sits on the throne feeding both the babies simultaneously.
My fourth qualm has to do with the script in general, mythological movies of such grand scale are made more relevant and more aesthetically appealing when they are allegorical and metaphors are entwined as leitmotifs into the narration. This was one reason I was highly impressed by Urumi. I wish a director such as Santosh Sivan could have been armed with such a huge budget, just imagine the visual treat that we would have experienced.
I have also attached some relevant web links to this comment.
I would be much obliged BR, if you could give your opinion, on this comment of mine.
http://www.joblo.com/movie-news/christopher-nolan-discusses-why-he-prefers-film-to-digital-his-approach-to-cgi-and-much-more
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ThouShaltNot
July 28, 2015
@Kannan Baskar: You deserve the “Utkal Mohanty Keep-Scrolling-to-Infinity-and-Beyond” award 🙂
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amit
August 10, 2015
A superb piece of critique sir. Finally a film that conquers the layman audience as well as the discerning critics.
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Pady Srini
August 29, 2015
I finally got to watch this in the theatres yesterday. The animation part is a breakthrough for an Indian movie. But this is where it stops. This to me was just another trash TV serial. We have seen enough of this both in Indian TV and Hollywood big budget trash. Where is the intelligence ? This movie just reminded me of one of my favorites “Jason and the Argonauts”. That was a “big” movie but had so many “cool” moments. My daughter and me walked out of Bahubali thinking alike – any Chota Bheem 30-min show is more enjoyable than this movie.
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marees
October 3, 2015
I watched this movie on DVD. Would have loved to watch it in iMax, but with all these politics here that seems to be taking longer than the completion of MRTS.
Movie as a whole was watchable. It kept flowing meaningfully except for songs (esp. Tasmac) which I mostly did a fast forward and the battle scene was a major drag. I have never been a fan of mindless fight scenes that go on and on with no end in sight. The initial part of the battle scene was fine because some strategy was discussed but it got too long. At least this came towards the end of the movie.
Till then the movie was going along nicely. As mentioned in the Guardian review it was like a videogame (Assassin’s creed?) where the hero had a sequence of challenges to solve one after the other and that format is what works for this movie and makes it watchable.
As BR rightly says years of watching Rajni movie has helped me today to accept prabhas swiping millions of arrows with one sword. But I must say that director does everything in stylish manner with a flourish Satyaraj sliding 200meters on his knees for example that you sort of accept (even enjoy) and doesn’t distract from the storyline and movie watching experience.
One big success for movie/director was I could buy Tamanna as a warrior. She should be banned from acting romance with immediate effect IMO. One trick missed by the director is that she should have fought soldiers along with Prabhas after he untied her (before the snow-sledge). Was she physically injured at that time? It was not clear.
I read a lot on the sexism and racism in the movie but I mostly agree with Shobha De here. Worse has happened in other millions of movies made in India.
I think the “wooing” of the heroine was done ‘tastefully’ and that role actually fitted prabhas well compared to the fight scenes. I found the “painting on heroine” scenes playful but also perfectly believable. First time fish is nibbling her, so she could have mistaken his painting for fish nibbling (BTW where was his oxygen tank?) Second time snake was moving both over her body and the arrow so she might have confused the painting to snake movement on her body. Mind you its a bit creepy that he is right behind her after climbing tree super-silently without her knowledge but we can let that pass as a minor quibble which doesn’t distract from the main movie.
The highlight of the movie was the statue erection scene. I have no prior experience or knowledge of Moses story. So this was definitely the climax moment of the movie for me. Everything after this was a gradual come down.
The twist at the end(inspired of ShobhaDe spoiling it) perks up the interest again for the next part. Hope Rajamouli doesn’t disappoint and can satisy the expectations one more time. I suspect the Muslim arms dealer might have a key role to play in the second part.
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Diviya
February 25, 2016
I finally watched this on a flight. I’m surprised you could ignore the misogyny ( the hero undresses and puts make up on the guerrilla warrior who’s chasing him with a sword and she falls in love) and the casual racism (the opposing army wears blackface!!).
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Seekers
July 4, 2017
Me Tamilians ki chesenkempaniledu cinema pichhi
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Vamsi
September 6, 2019
@Seekers: LOL.. I totally feel you man! It’s so bruising as a Telugu fan of Baahubali to read so many comments trashing various facets of the movie. I bookmarked this page long ago to spend one whole evening going through all the comments. To answer a doubt, Tamannah does get injured. Baahubali can be seen tying a bandage to her feet. It seems a contrivance and she could have taken part in his next adventure. Baahubali taking over from her gradually in this next adventure of saving his mother would have been organic.
Boxoffice: The domestic Telugu market is much much bigger than domestic Tamil market, no matter how many states they’re played in (dubbed or not). The foreign Tamil market is bigger than foreign Telugu market. Tamil Dispora is more spread-out and larger in numbers than Telugu Disapora. Adding them, Telugu market does come out on top. Baahubali 2 itself is a good example. It grossed about 320 crores in the Telugu states while its Tamil version grossed about 150 crores in Tamil Nadu. This is a movie that saturated the box office in South India so we can take these figures to be the high watermark for the maximum a film can gross in Tamil or Telugu states. Figures can be found here. Website is damn reliable.
http://andhraboxoffice.com/info.aspx?id=4112&cid=6&fid=834
The Romantic Angle: While the romance is seen by some to be too easy – a warrior falling for a stranger so easily and coyly – I feel the pivotal moment in this is him presenting her the mask. The waterfalls is seen by everyone in the movie’s universe as this invincible thing that none can overcome. That’s why she’s unbelieving at first when he tells her about where his home is, beyond the mighty falls. She says only Lord Shiva can climb them. So, in the final moment of their fight, when he finally shows her the mask, the full gravity of the moment hits her. Here was proof. This was a man who really conquered something near-godly FOR HER. This is crucial since her self-identity is completely effaced as she grows up to be part of a collective struggle for Devasena. Here was someone who did something unbelievable for a woman like her and her alone. So this is a pivotal moment in her life. And that’s when her defences weaken and she falls in love..
The Story: I simply don’t get this oh-the-story-is-so-skeletal comments. It’s the movie perfectly sticking to the journey-of-the-hero template. You can see roughly the same story at play in Black Panther, Thor: Ragnarok, Lion King and countless other movies. What’s important is the screenplay and the vision brought to the age-old template by the Director. Each one has his own twist to the tale, his own angle to contribute. So, dissing the story seems a bit shallow. What’s important is how well the movie connects to the audience, takes them back to the stories they grew up with – our epics, folk tales, chandamama, grandma’s tales.
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anon
September 6, 2019
@vamsi – I don’t know what Seekers said in Telugu and I haven’t read all the comments here. Ppl ragging on Prabhas, stay away from Amarendra, he’s infallibe. How ever the movie was picked apart on here, (Bahubali 1 Avantika storyline IS kinda problematic) the franchise is much loved – probably here and for sure in most of the country. I loved both Amarendra and Devasena. The franchise is a stupendous achievement and India rewarded it by making it THE highest grossing film of all time. I think it set box office records on EVERYDAY of the first 2 weeks. Movie 1 set movie 2 up. Movie 2 came and blew everything out of the water. Don’t feel angsty. Can’t think of any hero in Tamil who can pull off either Baahubali or Bhalla – physically or otherwise and get it to work anywhere outside of TN.
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Vamsi
September 7, 2019
@anon – Thanks for the love! 🙂 Seekers was roughly saying this – unga tamilians ku verey vezheyee illa, cinema paityam (You Tams have no work at all, only movie madness)
The box office records are all there but I thought it also scored high on the narrative, aesthetic, and technical aspects. I don’t want it to be dissed upon as some plebeian stuff that somehow became huge because most people love that genre. Lot of thought had gone into the backstories, motives, and the mythical aspects of the movie. I felt it became huge BECAUSE it got all of these little things right, and not just because it had a couple of cool sequences and half-baked ideas we find in most other big hits. Like brangan says, Rajamouli doesn’t take the audience for granted.
With the kind of masala trash that is churned out by Tollywood regularly, people here have simply stopped coming to the theatres. It’s as if the bigger Telugu directors haven’t got the message yet, that the audience is sick of these stories (cue Puri Jagannadh, Boyapati Srinu, V V Vinayak, Srinu Vytla). This is evident if you look at the non-flops of Tollywood over the last 5-6 years. Only 1-2 action masala movies are hits every year. This is why most Tamil big-hero movies tend to be bigger grossers than their Telugu counterparts despite the bigger Telugu market. This trend will continue except for every time Rajamouli makes a movie.
So you’re totally right when you talk of how much love (and money) this franchise has made since people from all sections connected with this universe, swept off by it. I don’t know about other states but it really brought people to the theatres in the Telugu states. I have said elsewhere on this site how, within the Telugu states alone, Baahubali 2 earned an amount (327 crores) equaling the combined gross of the second (Baahubali 1 – 175 cr.) and third (Rangasthalam – 156 cr.) biggest hits of Tollywood. That’s unique for any film industry.
@Physicality of heroes: Totally agree. But I do want to see a movie where Prabhas or Rana faces off with NTR Junior. People says he’s short but his mannerisms, screen presence, and voice modulations more than make up for it. He can fill up the screen with his voice and crazed eyes alone. Him playing Ghatotkacha, Duryodhana, or Bhima would be killer.
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