Baahubali is not only a spectacle, it is a delight of Rajamouli’s intrepid imagination

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In 1948, when an recurrent SS Vasan, owners of Gemini Studios, spent all he had to make Chandralekha, a costliest film outward Hollywood then, it took a nation by charge by a perfect spectacle, scale and artistic daredevilry. Indian cinema, still in a early stages with singular bill and equipment, hadn’t seen anything like it before.

Thirty years later, Telugu executive B Vittalacharya, another celluloid visionary, gathering his audiences crazy with visible illusions in his Jaganmohini. In an epoch when all had to be finished on film, Vittalacharya dreamed large and pennyless new belligerent with his camera tricks, crafty lighting and sets to emanate rare visible effects in India.

With Baahubali, Telugu executive SS Rajamouli has reclaimed a bequest of Vasan and Vittalacharya with his brazen prophesy of a art of party cinema. It’s an startling erotic experience, not usually since of overwhelming eyeglasses and high clarification grandeur, though also since of a riveting play of cinema that usually a master can unravel.


Prabhas in Baahubali. Image from Facebook.

The story of Baahubali is no opposite from a age aged imaginary rip-offs that we had review and re-read in and Amar Chitra Katha and Chandamama repository – of kingdoms, chivalrous men, fratricidal strifes, invasions and wars.

A good royalty, with a farfetched judicial aura, and a constant tribes make a pattern complete. Rajamouli takes this thread and goes furious with his imagination. What rolls out in front of us is a 4K Dolby Atmos philharmonic that is both overwhelming and endearing, something that we have never seen in India earlier.

Undoubtedly, during a core of Baahubali is a art of cinema, an Indian story and frequency learned narration. Without them, a film would have depressed prosaic like a VFX misadventures such as Ra One and Kochadaiyaan.

Everything that Rajamouli uses in a film – grand prolongation design, lush visible effects and foley, elaborate duration costume, good music, classical photography and good choreographed quarrel and quarrel sequences – are in fact usually immaterial and hence do not mount between him and a viewer-experience. There are situations and sequences that are so thespian and talented that they offer code new practice for a same aged stories and emotions.

The strain sequence, for instance, between a favourite (Prabhas) and his female-pair (Tamanna) is a shining instance of Rajamouli’s uncontrollable imagination and how he summons adult a right resources – desirable music, pleasant performances, monumental locations and elegant visible effects – to make it work. It’s such tasty fantasy. Similarly, each stage played by Ramya Krishnan reeks of royal authority, interjection to a right camera angles and movements, and unchanging expressions. Action sequences, quite a hand-to-hand combats, are frail and outstanding.

Tamanna, who had had a bad run in Bollywood notwithstanding her resounding success in a south, looks unequivocally good in those quarrel scenes in a jungle. Also important is how good looking tellurian bodies are in this film – demeanour out for a shots of a gaunt and well-built Prabhas with a unclothed torso and a dance method featuring 3 good looking women in a bar.

There is no indicate in restating a peculiarity and scale of Baahubali’s philharmonic that everybody is articulate about – a unconditional landscapes, a huge sets and mixed locations (within in India and in Bulgaria) that dovetail with high peculiarity visible effects, monumental fights and convincing quarrel sequences. Yes, it’s unequivocally loyal that each stage is drizzling of loftiness and it frequency dips in consistency.

The film is equally enchanting in terms of emotions and drama. Specially important are maestro composer Keeravani’s music, that displays a different repertoire, and Senthil Kumar’s camera. Performances of a categorical cast, drawn from Tamil and Telugu film industries, are totalled and not over a top. There are occasional flashes of Telugu kitsch, though they mostly overstate a scenes.

By his possess admission, special effects is usually a apparatus that Rajamouli uses to raise a peculiarity of his narration. In his final film Eaga (Makhi in Hindi), he used thriving amounts of visible effects to tell an romantic story featuring a lovable fly in a lead. The film was so well-crafted that it worked both as a adore story and a revenge-thriller. Prior to Eaga, he had done another epic story patrician Magadheera that too had a lot of special effects. In Baahubali, he seems to have found a improved change between large philharmonic and tellurian emotions, while lifting a bar of peculiarity manifold.

Ultimately Baahubali is a delight of Rajamouli’s intrepid imagination and authority over a medium, and a skills of Indian technicians. Although a visible effects have been put together by graphics specialists in studios opposite a world, it’s a film designed and realised in India. And in character, it’s Indian to a core.