Apparently one of the last reviews (if not 'the' very last) on "the highest grossing Indian film ever", also dubbed as "a legend on celluloid" – "Bahubali 2 – The Conclusion". A film that everyone would have already watched by now (if not 'about to'/'willing to soon'). Despite this review's redundancy, the film is indeed all that's been said about, and then some more.
Long ago, when B.R. Chopra's "Mahabharat" was in pre-production, its casting director Gufi Paintal (a.k.a. "Shakuni") was given a guideline – 'not to cast humans, but the ones with exceptionally herculean personalities'; which held true for this Telegu cinema's first 4K High Definition flick.
The film opened with the 'porcelain-stroked' animated stills from "Bahubali - The Beginning" amidst the thumping song "Shivam", and immediately we knew that the makers meant business. The 'mythological reality' of Mahishwati calling back to the bloodshed and sacrifices which paved the throne of evil.
Though, such antics have merely begun. The film mainly focused on the glories of an epic compassionate warrior rightfully worthy of being the king, Amarendra Bahubali – the father of Mahendra/Shivdu (both played by Prabhas). When leading a charge in a power-packed ambush, Bahubali and his lady Devasena (Anushka Shetty) come closer and subsequently marry. Meanwhile Bahubali's envious vile elder brother Bhallaldeva (Rana Daggubati) schemed to dethrone him with his undiplomatic father Bijjaldeva (Nassar). They dupe Queenmother Sivagami (Ramya Krishnan) and banish Bahubali, get him murdered through the loyal Katappa (Sathyaraj), the newborn son had to grow up in exile unbeknownst of his history and fate. Thus, the good empire fell; only now a spectacular war would be to avenge.
S.S. Rajamouli's writing-direction is 'incredible' in painting a fictional-mythology with real flesh and bone. The gauntlet of creating a more enigmatic film than its previous part had been picked and delivered with aplomb. The mastery came in sync with the monumental sets, the state of the art VFX and sound design along with signature South cinema emotions. Despite popular Western comparisons – with "Avatar" and even "The Lion King" his embellished work is inherently and marvelously Indian. Prabhas is phenomenal and so is Anushka, who play their characters better than others. Daggubati felt rightfully antagonizing and Subbaraju added to plot- twists and turns; although, Tammanah is blink and miss in this one. Another massive plus - M.M. Keeravani's music, the film's pulsating soul. From "Jiyo Re" for the mighty Bahubali to his fantastical- romance with Devasena's "Veero Ke Veer". Even more majestic is his adept orchestral background- scoring, without which the the film wouldn't have been the same.
The much talked action-choreography's aura came as an industrial stunner, packed with the adrenaline of a stadium. None could expect adapting the panache of combat-nuances of a Japanese-manga action presented in thrilling beauty. Those "speed ramping" shots – alternating between deliberately slowing down and exaggeratingly speeding up action movements – are inspiring. The symbolism of love, respect and hate through 'blood' is perhaps used one of the most impressive ways imaginable and despite graphic violence there is a lack of cringe worthy gore.
Even with such brilliance, "Bahubali 2" went slightly off course with legit character-development and storyline. The Screen writing incorporated pretty complex aspects however, in the process lost some sheen. Adding up, the climax doesn't excite any further due to the fact that the excitement never fell once through the three acts – which seemed pretty good, but definitively exhausting. Post- climax, the end speeds up to completion.
Only real disappointment is the answer to the "cliffhanger of the year" – "Katappa ne Bahubali ko kyun maara?" Adequate, but undercooked and amidst the hype doesn't impress one bit where one could take Katappa as a 'dimwit'. Even with the unevenness none shall not be bored.
An applaudable "8.25/10" for its milestone cinematic, technical and popular feat; the "Sholay" of this millennium!
Long ago, when B.R. Chopra's "Mahabharat" was in pre-production, its casting director Gufi Paintal (a.k.a. "Shakuni") was given a guideline – 'not to cast humans, but the ones with exceptionally herculean personalities'; which held true for this Telegu cinema's first 4K High Definition flick.
The film opened with the 'porcelain-stroked' animated stills from "Bahubali - The Beginning" amidst the thumping song "Shivam", and immediately we knew that the makers meant business. The 'mythological reality' of Mahishwati calling back to the bloodshed and sacrifices which paved the throne of evil.
Though, such antics have merely begun. The film mainly focused on the glories of an epic compassionate warrior rightfully worthy of being the king, Amarendra Bahubali – the father of Mahendra/Shivdu (both played by Prabhas). When leading a charge in a power-packed ambush, Bahubali and his lady Devasena (Anushka Shetty) come closer and subsequently marry. Meanwhile Bahubali's envious vile elder brother Bhallaldeva (Rana Daggubati) schemed to dethrone him with his undiplomatic father Bijjaldeva (Nassar). They dupe Queenmother Sivagami (Ramya Krishnan) and banish Bahubali, get him murdered through the loyal Katappa (Sathyaraj), the newborn son had to grow up in exile unbeknownst of his history and fate. Thus, the good empire fell; only now a spectacular war would be to avenge.
S.S. Rajamouli's writing-direction is 'incredible' in painting a fictional-mythology with real flesh and bone. The gauntlet of creating a more enigmatic film than its previous part had been picked and delivered with aplomb. The mastery came in sync with the monumental sets, the state of the art VFX and sound design along with signature South cinema emotions. Despite popular Western comparisons – with "Avatar" and even "The Lion King" his embellished work is inherently and marvelously Indian. Prabhas is phenomenal and so is Anushka, who play their characters better than others. Daggubati felt rightfully antagonizing and Subbaraju added to plot- twists and turns; although, Tammanah is blink and miss in this one. Another massive plus - M.M. Keeravani's music, the film's pulsating soul. From "Jiyo Re" for the mighty Bahubali to his fantastical- romance with Devasena's "Veero Ke Veer". Even more majestic is his adept orchestral background- scoring, without which the the film wouldn't have been the same.
The much talked action-choreography's aura came as an industrial stunner, packed with the adrenaline of a stadium. None could expect adapting the panache of combat-nuances of a Japanese-manga action presented in thrilling beauty. Those "speed ramping" shots – alternating between deliberately slowing down and exaggeratingly speeding up action movements – are inspiring. The symbolism of love, respect and hate through 'blood' is perhaps used one of the most impressive ways imaginable and despite graphic violence there is a lack of cringe worthy gore.
Even with such brilliance, "Bahubali 2" went slightly off course with legit character-development and storyline. The Screen writing incorporated pretty complex aspects however, in the process lost some sheen. Adding up, the climax doesn't excite any further due to the fact that the excitement never fell once through the three acts – which seemed pretty good, but definitively exhausting. Post- climax, the end speeds up to completion.
Only real disappointment is the answer to the "cliffhanger of the year" – "Katappa ne Bahubali ko kyun maara?" Adequate, but undercooked and amidst the hype doesn't impress one bit where one could take Katappa as a 'dimwit'. Even with the unevenness none shall not be bored.
An applaudable "8.25/10" for its milestone cinematic, technical and popular feat; the "Sholay" of this millennium!