The film is a perfect recipe for commercialising Indian culture and values for global consumption
Gaurav Jha and Abhishek Baranwal
A lot has been written on Baahubali as it continues its successful run after smashing all box office records. In most of these reviews, regular film critics focused on scale, art and technique involved in the making of movie while people from intelligentsia dubbed it as a movie that furthers “patriarchy” and shows women subservient to men! Thus, once again Liberals prove how away they are from realities!
Baahubali 2: The conclusion is a magnum opus tale that captures convolutions of heroism, valour, loyalty, treachery, deceit, intrigues, betrayal, conspiracies and most importantly love, nationalism and revenge in a well packaged, visually stunning and breathtaking epic movie. It captures the glory, grandeur and splendour of India’s antiquity.
Baahubali 2 is more of a prequel than sequel film that answers much beyond the most-awaited question of last two years: Why Kattappa killed Baahubali? It showcases the eternity of Indian culture and traditions, unlike any other movie in the past.
Constitutionalism versus nationalism: In present times, as India debates on virtues of nationalism against constitutionalism, Baahubali 2 offers interesting answer. Movie gives a strong message that constitutionalism bereft of Dharma shall only lead to ruin and decay of a nation, even if it be Mahishmati, the most powerful Empire that was made of gold and glitters.
The last scene of the film holds the defining image and message of the movie. Bhallala Deva’s monstrous golden bust crashes and crumbles in the depths of the falls besides the Shivlinga (from the first movie) placed upright implying power acquired through nefarious adharmic means is impermanent while Dharma is eternal.
Queen Sivagami (Ramya Krishnan) and Amarendra Baahubali (Prabhas) dwell with the ethical and moral dilemma that has reverberations of Mahabharata when protagonists have to choose between vidhi (constitutional law of land) and dharma (moral obligations).
Sivagami’s assertion, ‘Mera vachan hi hai shashan’ (My word is the law i.e. once spoken, it cannot be withdrawn) resembles Ganga putra Devavrata’s dilemma as bound by his shapath. His rigid stance subsequently forced to choose the path of adharm that resulted in devastating destruction of Kuru dynasty. Amarendra and Devasena are real heroes of the story as they dare to challenge the status quoist vidhi of Mahishmati in favour of upholding rajdharm.
Questions boldly raised by Devasena (Anushka Shetty) in the Royal Court to the Queen Sivagami is reminiscent of Draupadi’s inquiry on limitation of powers that be upon the choices and independence of a woman. Can freedom of woman to achieve outcomes that she values and has reason to value be restricted by the state?
The romantic saga between Amarendra Baahubali and princess of Kuntala kingdom Devasena, despite covered in less time, has tinges from tales of Prithviraj Chauhan and Samyukta in terms of depth, gravity and conviction of the plot. Both Chauhan and Amarendra met glorious end for the sake of defending their nation and love, while their love suffered after their demise. Perhaps, Titanic is the only Hollywood love drama that has such comparable intensity.
Bijjaladeva’s (Nasser) and his son Bhallala Deva’s (Rana Daggubati) ploy to get back the power in their control is comparable to Mahabharata, which is Rajamouli’s next project. Too many similarities can be drawn starting from struggle for power between a just and eligible prince against his unjust and underserving brother. Bijjaladeva represents Dasavatara in terms of predicament of a disabled father who was denied throne and connivance of Shakuni in conspiring intrigues. Bhallala Deva is very much like Duryodhan, not just in terms of qualities but also physique and his weapon mace (Gada).
Baahubali and Dasavatara: If we observe the two parts closely, we find not just similarities with the Hindu epics and legends but also with Dasavatara of Lord Vishnu. Mahendra is an active swimmer (Matsya). Just like in Kurma avatar, where Lord Vishnu lent his support to Devas, Mahendra lends his support by pulling up rope to erect a gigantic statue of Bhallala. Sivagami holding up baby Mahendra amidst waters is similar to Varaha lifting up hope of humanity, mother earth, from depths of Patallok.
Bhallala Deva attempting to tear apart Mahendra’s chest reminds of Narasimha avatar. Akin to Vamana”s foot on Bali, even Mahendra puts his foot on the head of Kattappa. Both Amarendra and Mahendra are skilful users of battle axe and bow and arrows like Parasuram and Ramaavatar.
Krishna’s peacock finally appears in the tattoo made by Mahendra on Avantika’s wrists. Scenes of Jallikattu, farmings can be correlated as an ode to Balaram. Finally, Kalki is visible in Amarendra riding on white horse with sword in the hands in the battlefield.
Are these similarities pure coincidence or well-conceived designs of director Rajamouli is nevertheless difficult to conclude despite the fact that Conclusion is heavily dependent on Indian icons and imageries to deliver the message, Statues of Lord Ganesh, Lord Krishna and Lord Shiva have been used liberally to send message of might, devotion and righteousness respectively. Bright colours reflect the diversity of the nation.
The remarkable start cast has done honourable justice to their characters. Ramya Shankar and Anushka Shetty as two powerful, unyielding and uncompromising Queens maturely showcase the feminine power that we can only aspire of today. Anushka, especially is a revelation outperforming her previous best as warrior Queen in Rudhramadevi.
Prabhas is impressive both as father and son: As former he stands by dharma with conviction to the extent of challenging Queen Sivagami’s reasoning and as latter he is thirsty for revenge. In both the roles, his character appears unquestionable even while moving boulders, taming wild beasts and removing everything, yes everything that comes his way in protecting people who matter to him.
Heath Ledger shortly before his death reportedly said, “good villain is one whom the audience hate to the extent of disgust”. Duggabutti and Nasser fit this characterisation of Ledger’s villain very well.Tamannaah has a very limited and forgettable role this time.
The real star of the film certainly is SS Rajamouli for braving to take such a big risk and finishing it with style on imagination-provoking story by KV Vijayendra Prasad. Music by Keeravani is soul stirring while cinematography is awestruck. VFX team is the backbone of this visual delight. One can confidently say that ‘Lord of the Rings is the Baahubali of Hollywood’.
Finally, to those who complain that Indian film industry has been taken over by
D-Company that promotes anti-India interests, Baahubali series acts as a textbook guide on how to promote Bharatiya values and culture through popular cinema.
(Gaurav Jha is presently pursuing PhD in US Studies Division at Jawaharlal Nehru University, New Delhi. Abhishek Baranwal is a Digital Communications Strategist at one of the largest Business Houses in the country and has myriad of work
experience across the globe)
