A big dream requires a leap of faith, the kind that is incomprehensible to anyone until it is realised. Bahubali is one of those improbable, larger than life fantasies that someone dared to dream.
For anyone who watched ‘Bahubali – The beginning’, was left awed by the sheer grandeur of the cinema. We were all left wanting for much more than the much publicised Kattappa conundrum. Fortunately for us, ‘Bahubali- The conclusion’ is way beyond this revelation.
The conclusion begins with a vivid narration of the story so far, in the titles through artistic illustrations. From this point itself, you start to appreciate the detailing that goes in the storytelling more than anything else. The first half is leisurely spent in building up to the face-off between the two brothers for the Mahishmati throne. Unlike the first movie, this one is notched up on family drama, romance and internal politics. There are also instances of comedy (read overacting), which are squarely lost at least in the dubbed version but can be excused for its insignificance. The second half brings you back to the present where Mahendra Bahubali is all set to revengefully reclaim his throne. Unlike in the first part, the war scenes here lack strategy, and somehow VFX takes over any law of physics. It is the knockout between Bahubali and Bhallaladeva that is absolutely unblinking though.
Add to that a brilliant background score which is almost as essential to the narrative as any other character,
Prabhas, as Bahubali is phenomenal, He is an embodiment of dharma and his intensity shines through anything from action sequences to emotional outbreaks. You see him in some solos of self-appreciating poses with his hair flowing and eyes twinkling, but it all looks justified for his mesmerising charisma.
Rana Daggubati has beefed up to a level we haven’t witnessed in Indian cinema before. With those blood red eyes, roaring anger, and muscle twitching that can send shivers down your spine, Bhallaladeva is a personification of evil. Rana contains himself in the limited scope that he has, but yet makes his presence indispensable.
Ramya Krishnan continues to be brilliant as Sivagami, as she balances between a fierce queen and a loving mother. Devasena also gets her fair share of screen presence and not one frame we regret.
Although these women are given all the power and strength to challenge most of the men around, there is this usual regressive play of the two women being the reason behind all the drama.
There is hardly anything in the story that you would not foresee, but don’t watch it for any unexpected revelations. This extravaganza is beyond rationality, it is a visual magnificence. You simply need to submit to the craftsmanship of Rajamouli and take a dip in this magical storytelling.