The 'Before and After' of experiencing Baahubali

“Life can change in a kshanam (moment)” – goes the tagline of a recent Telugu film. For me, that defining moment stretched for 2 hours and 39 minutes – the length of Baahubali: the Beginning. Does that sound corny? May be. How does a mere film affect one so much that it actually becomes a life altering event? I don't know. But I do know, that I am not the only one - there are so many others who I am sure have not been less affected.

And yet ... it isn't as if I haven't been in love with films already. And fantasy adventure? That is my thing! Being blessed with a vividly imaginative mind, I have always been drawn towards the world of fantasy, mythology and the like. Having artistically inclined and well read parents, I had been showered with myriad books as well as scores and scores of Amar Chithra Katha to fan my already overworked imagination. Added to this, I also inherited from them - an intense love for films. As a result, at a very young age, I had been exposed to more films than many people would watch in their lifetime!

So, after all these years of watching n-number of films, fantasy or otherwise, what made this regional (with all due respect) film leave such a lasting impression that I am sitting down to write a blog post about it? I am not sure that I really know. Is it the special effect and VFX? But as someone whose very first film in a theater was Steven Spielberg’s “ET - the Extra Terrestrial”, I am no stranger to creations of special effects experts George Lucas, James Cameron, Christopher Nolan, and the likes. Is it the story? Then I have probably watched better (?) stories being translated into celluloid by maestros such as Satyajit Ray, Ritwik Ghatak, Goutam Ghose, Akira Kurosawa, and so on. Or is it the action? But didn't I already see enough and more of it in Ben Hur, Troy, 300, or even Gladiator? Not to mention Lord of the Rings trilogy, which was a complete package … of a superb story, stunning visuals and special effects and mind-blowing action!

Therefore, with almost thirty years experience of movie magic, watching over thousands of films from different parts of the world, I am not likely to be swayed by just VFX and CGI tricks, an oft-told story of betrayal and revenge, larger-than-life action and stunts or beautiful music.

Well, what do you know? I am. By all of these, and more. Why? - one may ask, to which I really have no answer that may satisfy the casual inquirer. To my defense, I can only confess that, I have fallen - hook, line and sinker! For the film, for its protagonist … as also the leading man. But that is a different story, to be told some other time :)

This isn't really a film review though. It is more an attempt to express how this film has affected, influenced and to an extent, changed me in a way that none other had ever been able to. Somehow, somewhere along the line, Baahubali has ceased to be merely a film for me … it has become an experience! It also has had the rare but unmistakable effect of making a fan(atic) out of me that I never even thought was possible. Those of you who have already seen the film will know and probably understand what I mean to say. Those who haven’t, you do not know what you are missing!

I must admit that unlike a true FAN, I had not watched the film when it released. I was not even aware of it until much later. Sacrilege, I know! But it is never too late to make amends. So, I have tried to make up for the lost time by watching every telecast on TV, and repeats on DVD, trying to learn a new language and diligently following updates at every possible social network forum. Does that redeem me? I definitely hope so.

The story of the film is one that has been told before, many times, in many different ways ... “a child is born destined for greatness and as a man vanquishes the forces of evil” (Lisa Tsering, The Hollywood Reporter). But the treatment of such a timeworn, much-heard and oft-seen story is so visibly spectacular that it is nothing short of a miracle. That the film has been made with so much love is evident everywhere, from the creation of the gigantic waterfalls to the minute detail of the smallest weapons used ... from the pre-planning to the post-production. And it is this love, that has made the film, despite its flaws (which aren’t that too many), a truly epic experience.

Baahubali, with its picturesque sets, mind-boggling special effects and breathtaking visuals, is not any Hollywood wanna-be. The references to Indian history and mythology throughout the film have lent an Indianness that is not only engaging, but also close to our hearts. Mahismathi, the centre stage of all action as well as Kunthala kingdom introduced to us in the very first scene, have both their roots in history. It has been established by historians that the ancient city of Mahismati was situated on the banks of the river Narmada. The latter is also known as the ‘Lifeline of Madhya Pradesh’. “Jeeva naadhi” anyone?

The film also has parallels with the epic Mahabharata, an all-time favourite. The main protagonist (Shivudu) representing the Pandavas, and the antagonist standing for the Kauravas, it is also the age-old battle between good and evil.

But in order to bring a story to life, it is imperative to have a powerful cast and here’s where Baahubali scores the most. With a cast that has matched the director’s vision for every step, like a perfectly synchronized Jugalbandi, the film has risen to great heights.
However, it is the lead actor who is the most captivating of all. Prabhas as Shivudu (aka Mahendra Baahubali) and Amarendra Baahubali is a treat to watch. These two characters are the two pillars on which the film rests, and Prabhas is magnificent as both. Shiva is as spontaneous and carefree as the nature, as Baahubali is controlled, deliberate and purposeful as a king in the making. Although the outward physical appearance of the two men are the same (for the obvious reason), there the resemblance ends. The characterization of the two are so markedly different that they actually seem as if being played by two separate actors. As Shivudu, Prabhas has a loping grace, open and unrestrained. As Amarendra, Prabhas exudes confidence and discipline in his measured steps. The transformation is incredible! And complete.

Though the film has been touted as the biggest Indian “special effects blockbuster”, it is Prabhas who is the best “special” effect in the film … all other effects were merely aimed at assisting and elevating him to his rightful place - of that of a hero.
Prabhas is a revelation in this film. The gamble of casting him in a dual role could have backfired had he been a lesser actor. In many interviews post-Baahubali, he has acknowledged that this has been an opportunity of a lifetime … and indeed he has made the most of it. With almost every scene filled with his considerable frame, it required a compelling performance - and Prabhas has done justice to the faith of his director in him. Not a single expression has been out of place or over-the-top, which is so very common in Indian films. Right now, I cannot even think of anyone else who could have done a better job. With intensely dramatic performance and an irresistible charm, he has woven his magic over millions worldwide. The one (only) quarrel that I have, is regarding his dialogue delivery, specially in the crucial scene of motivating the dejected soldiers of Mahismathi. It could have been a little bit more compelling - I prefer the Hindi dubbing over the Telugu original; but since I am a non-Telugu, subtitle-only (so far! I plan to watch the Conclusion in its original form) girl, I might be forgiven for this censure.

In one of the most beautiful scenes of the film, Shiva paints a tattoo on the hand of his love interest Avanthika. Whether that signifies as a rather innovative declaration of love, or staking a claim and marking her as ‘his woman’, is a matter of perspective. The scene that has Shiva disrobing Avanthika to get her in touch with her feminine side has had its share of criticisms, ranging from being “regressive”, “an outrage on women's modesty” to, more seriously, “rape”! Although it is a bit arrogant on the part of the hero to take matters into his own hand, and chauvinistic to think that he can win a powerplay by distracting the woman opposite by arousing her … I have seen nothing which I find objectionable, no more than the outrageous treatment that is meted out to the poor heroine in every other (Indian) film, where she is regularly stalked, harassed and even threatened (!), to fall in love with the hero! If that doesn’t bring out the righteous outrage, then this so-called “rape-y makeover” shouldn’t, too. Films are, by nature, subjective and open to interpretation. Why can’t we simply consider that Avanthika is actually intrigued by, and maybe even a little interested in this stranger who is a match for her both physically and in the battle of wills? And for those like me, who have been reading Mills and Boon romances for years, haven’t we seen many such occasions where the handsome, domineering hero has brought out the inner beauty of the tomboy-ish, workaholic heroine? 

Although as far as declarations of love are concerned, “You are a girl. I’m a boy. I’ve come here to love you.” - might be somewhere at the top of the most unromantic proposals list, but this is more of an echo of another proposal made by “Pretty Woman” Julia Roberts to Hugh Grant in another film Notting Hill, “I’m also just a girl, standing in front of a boy, asking him to love her”. That was oh-so romantic, and this is not?
Personally, I find the choreography in this whole scene to be pure poetry! An attempt of the hero to show the heroine how he (a man) sees her, and in the process, making her see herself in a different light. It is also a reminder to an otherwise hardened warrior girl that there is more to life than duty and obligation; and giving into one’s physical desires is as natural as breathing, and there's nothing to feel guilty or ashamed of.

The visual effects are truly what may be termed as of epic proportions. Be it giant waterfalls, or avalanches, or the war scenes, the sheer scale and magnitude of the effects are staggering. Although at some instances they seem to be rather wanting, and at places downlight amateurish and shoddy, they are so few and far between they fail to spoil this unbelievably thrilling ride. The war formations that constitute more than 30 minutes of the later portion of the film are the best I have seen in any Indian film, and one among the best in world cinema. And that says a lot about the technical expertise of the cinematographer Senthil Kumar and the VFX team, entirely sourced indigenously from Hyderabad. Maybe this will be the beginning of the era where all big budget Hollywood movies will outsource their special effects to Indian artists.

Being a teacher and learner of management, I have always been keenly interested in strategic planning, and the war sequences in the film are lessons in the same. They clearly show optimal utilization of scarce resources (25,000 soldiers as compared to 1,00,000 Kalakeyas), innovative use of weaker resources and thinking out of the box (cloth bombs used by Baahubali). Both Amarendra Baahubali and Bhallala Deva are leaders who approach warfare in two distinctly opposite styles. While the latter is an autocratic tyrant who is ruthless with no compassion for subordinates or followers, the former is a benevolent leader willing to protect the interests of all stakeholders. It is also interesting to note that this film promoted gender diversity. Not only is an invincible medieval kingdom being ruled by a fiery woman, but there are lady bodyguards for the queen who accompany her to the battlefield; as also female tribal warriors as expert in guerrilla warfare as the men. It is heartening to see that even though it is a primarily patriarchal society, the women are not powerless or on show for decorative purpose only. They have character, grit and a mind of their own, making the world of Baahubali richer and more realistic.

I can probably go on and on about Baahubali and fill ten more pages, 'cause I can't seem to stop. It has become an intoxication, an obsession! Every time I watch the film, I relive the whole experience ……… laugh with Shivudu, love with Avanthika, suffer with Devasena, hate with Bhallala deva and conquer with Amarendra. I breathe and feel Baahubali. Even after one year, the magic has not subsided, rather like vintage wine has grown richer and more alluring.

And with the second instalment promising to be grander and more spectacular, I can only wait with baited breath … to be enchanted and mesmerized like never before.

Bring it on – Baahubali: the Conclusion. Jai Mahismathi.