DECIPHERING BAAHUBALI
Few movies stay with you, linger in your memories long after
you have stepped out of the theatre, but this one was more than usual and why
not, as it was the magnum opus, most awaited Indian film, and larger than life
like its name, ‘Baahubali’. The overwhelming plot and the
majestic presentation (of course credits to VFX) was a surreal experience! It’s challenging to even comprehend and write about
this magnificent project, leave alone thinking something so creative! One couldn't stop staring in bewilderment at the Mahishmati Empire or the constantly evolving plot, so here’s attempting to decipher its fabric as to why
it stands out from its contemporaries. Apart from the breathtaking shots, what
etched in the audiences’ memory was the way every character is sketched with
individual attribution. As Prabhas rightly said in an interview, “The first
part was about introducing the characters, the second about revealing them.”
Baahubali, that has many folds to it, primarily revolves around ‘who would be the king’ and Rajamouli pulls the right strings with the talented actors. The director of unmatched potential brings creativity at another level, as Anushka says, “His creativity stuns me”, otherwise who would have thought of turning split arms into a bridge :D. The screenplay needless to say is intriguing and seeks analogy to the Mahabharata. Though the end part with action sequences garnered lot of trolls, but when it is a South Indian cinema, you know the laws of physics go out of the window! Minus that the story is powerfully driven by the set of ideologies and beliefs of the characters that also offers great life lessons!
Amarendra is an excellent character ever written, probably
one of the bests. Apart from his thick long locks, clad in royal attire, the
walk with élan, there is more to the deep character of Amarendra. He epitomizes
kindness and courage; is a man of principles, savior of the underprivileged and
a ‘knight in shining armour’ in a very literal sense! (I may seem to be
superfluous with adjectives but cannot help :D). Yet, he disguises as a naive, subdued ‘Shiva’. This fairy-tale like sequence was the most beautiful part of
the film (Credits to VFX). More so, he is an egalitarian and knows what is
right and has the courage to stand by it, come what may. This is also
beautifully brought out at various instances in the film- when the young prince
fights to grab a morsel of the low grade food from his mama, not sacrificing
the animal, instead giving his own blood. He inspires his contingent when they are
on the verge of breaking, advocates dharma and is a follower of it. It is
noteworthy that he is courageous enough to go against his mother for the sake
of righteousness. He rules the hearts, with or without throne is immaterial!
Even when breathing his last, he is worried for his mother. That he siphons all
the energy to swirl the sword once in the air and hail ‘Jai Mahishmathi’, nails
it all. His character that eludes another level of heroism never fails to
mesmerize.
Bhallal, on the other hand, though raised by the same
mother, inherits valour and strength, without integrity. He is composed with attributes like that of the Kaurava.
Kattappa, the Bhishma of Mahishmati, is faithful and a staunch
follower of the solemn vow made by his ancestors. This even leads him to kill
Bahubali, though for an excuse of saving Sivagami from the sin. (This is
difficult to digest and you just wish this could be averted.) But when Krishna in Mahabharata manipulated truth for the greater good, shouldn't he have made any effort to clarify misunderstandings?
Another aspect about Rajamouli was assigning powerful roles
to women who do not remain mere puppets or so called ‘damsels in distress’, but they
are equally impressive at war craft. Sivagami, the untitled ruler is
awe-inspiring with invincible persona. She in unbiased and just, but
unknowingly lets guilt spew in her heart for not crowning her son as the king. She, as Bhallal rightfully says tries
to ‘compensate’ for it. She refuses to understand the other side of the story
which triggers the change-making decision. Here, the vulnerable and faulty
human nature is brought to fore. Also, her tagline ‘My word is law’ manifests
dictatorship that ceases freedom and is not healthy for any administration and causes downfall.
Devasena is the ferocious warrior princess who knows her rights and demands
for the right dharma. Her statement, “The silence of a wise man is more harmful than the atrocities of a tyrant” speaks volumes on moral administration. But she is vocal and aggressive at all times. Could things be smoother had she been
mellower?
‘Mahendra’ though righteous and fighting for good is unlike
his father. Raised by tribals, he is free-spirited, impulsive and ‘vengeful’
than being steady headed like his father. At the fag end of the movie when
Mahendra is sworn in, he reiterates the dictum ‘My word is law’. Instead ‘Jai Mahishmati!’ that shows
adulation to the motherland would have been an apt slogan.
The narrative also pays keen attention to the nuances in the
period drama- being indigenous and getting to the roots- the use of Sanskrit, the
study of archery and its techniques, the parade at the coronation- Bahu’s
dedication and loyalty almost giving you goose bumps.
Finally, it completes the circle when Devasena plants the
‘havan kund’ on her head, and everything miraculously moves out of her way (as
it does for Sivagami) and the inevitable happens.
With principles held in high esteem, the clash of the
heavyweights and the victory of good over evil, Baahubali emerges as a masterpiece. And
with the S.S. Rajamouli stamp in the end, we can’t thank him enough for giving
us the legend ‘Baahubali’.
