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Consider the first great summer film: a three-hour action/adventure about a leader who’s heroic deeds make Conan the Barbarian look like a wimp in comparison to him. Everything I’ve come to expect from superhero and big-budget fantasy films is delivered in “Baahubali 2: The Conclusion,” an Indian action/period epic that is both entertaining and educational. Amarendra Baahubali (Prabhas) is a beloved warrior-king who fights for the throne of Mashimathi with his jealous cousin Bhalla (Rana Daggubati) while declaiming dramatically, flying through the air, impaling or beheading their opponents, and then singing about their exploits.
“Baahubali 2: The Conclusion” doesn’t require viewers to have seen the previous film in order for them to understand what’s at stake, thanks to mercifully brief flashbacks and appropriately bombastic expository dialogue. Plus, the action choreography is thrilling, the operatic plot is compelling, and a genuine sense of optimism permeates the film’s stirring set pieces, despite the geysers of blood and thunderous sound effects that accompany them. An exciting, big-budget film with a contagious sense of momentum that wins you over any time key plot points are glossed over for the sake of setting up the next big confrontation. (See also: A musical number is included in the film, which is loud, gory, and full of blood.
Quality can be determined by the fact that, in spite of some blatantly ostentatious moralizing, “Baahubali 2” is inspired enough to make you care about characters who are both morally upstanding and relatable, such as refugees from a children’s fairy tale. Certainly, Amarendra possesses superhuman strength, agility, and filial piety, among other qualities (like many men in Indian movies, he worships his mom). That’s only because, at first glance, right appears to be more powerful in this universe. However, as the film progresses, it becomes clear that, despite their good intentions (which are displayed in full through speeches worthy of Frank Capra), even the most honorable people can be manipulated into committing crimes against one another. This is true of Bhalla, an innocent character whose natural jealousy is manipulated into hating his cousin by his petty father Bijjaladeva into believing that he is a traitor to the family (Nassar). As well as Baahubali’s mother Sivagami (Ramya Krishnan) and his uncle/adviser Kattappa, this is ultimately true of both characters (Sathyaraj).
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These characters, who are frequently painted as paragons of virtue and vice, are given the opportunity to put their wills to the test by a variety of trials—and sometimes fail—which is a welcome sight. These transient weaknesses can sometimes be indicative of character flaws, as in the case of Bhalla. However, they also suggest that even good people can make grave errors from time to time. The film’s refusal to judge characters solely on the basis of their responses to mitigating circumstances is a breath of fresh air in this genre.
Baahubali 2 The Conclusion Quiz
That both Sivagami and Baahubali’s devoted wife Devasena (Anushka Shetty) have more than a token amount of influence and power throughout the film is also significant. Baahubali struggles to remain unmoved by the promise of power (the throne!) while also maintaining his dignity in front of his treacherous brother and manipulative uncle. In addition to his Herculean physical strength, Prabhas’s character is admirable for his ability to make Solomon-like decisions before he masterfully glares at the camera, delivers a brief speech, and then takes to the skies to face his adversary.
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And by “soar,” I mean it literally. Combat scenes in “Bahubali 2” are so inventive that they make even the most frequently abused creative shortcuts seem novel, including everything from computer-generated imagery (CGI) to speed-ramping (Zack Snyder’s signature technique of increasing the tempo of a particular action or physical motion, then decreasing it, then increasing it). You’re invested in what happens to the cast as they hurl volleys of arrows at disposable minions and CGI animals, assisted by a network of wires.
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You haven’t seen anything like this before in terms of action scenes with physics and logic-defying choreography. Baahubali uses a mallet to break massive chains, brushes away mortal wounds with one hand, and leaps over castle walls with deceptive ease. On the battlefield, he is ruthless, destroying a legion of enemy soldiers by lashing them to a tree trunk that he has strategically placed in the path of a lightning strike. At one point, Baahubali’s mother is seen wielding a severed head. Isn’t it worth mentioning that there is singing? In a poetic, Greek chorus-like swooning that perfectly suits the film’s paradoxically arch but playful tone, our heroes are rewarded for their deeds.
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An irony-free depiction of demigod-like men and the values and family members they fight to protect, this is a welcome change from most superhero films. And, for the first time in what seems like a long time, this type of old-fashioned entertainment works without feeling like a throwback or an homage to a previously existing work of pop art, which is refreshing. I adore “Baahubali 2,” in part because it never once felt like a soulless piece of entertainment that had been assembled by a committee. Many American viewers may be perplexed as to how a film that received little to no media attention could outperform “The Circle,” a new studio-produced and distributed thriller starring Tom Hanks and Emma Watson, at the box office in the United States. However, it is only necessary to watch “Baahubali 2” to understand why the film had such a successful opening weekend. Everything about it is grandiose and entertaining, and I hope there is much more where that came from.
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