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The first great summer movie has arrived: a three-hour action-adventure about a commander whose valiant actions make Conan the Barbarian appear like a coward. “Baahubali 2: The Conclusion,” an Indian action/historical epic, is everything I desire but infrequently receive from superhero and high-budget fantasy films. Here, larger-than-life characters, particularly the adored warrior-king Amarendra Baahubali (Prabhas) and his envious cousin Bhalla (Rana Daggubati), battle for the Mashimathi throne while acting dramatically, flying into the air, impaling or beheading their opponents, and then singing about their exploits.
No prior knowledge of “Baahubali 2: The Beginning” is necessary for viewers of “Baahubali 2: The Conclusion” to understand the stakes because of the mercifully brief flashbacks and the appropriately bombastic expository dialogue. Even better: the operatic plot is gripping, the action choreography is thrilling, and the film’s stirring set pieces are accompanied by tremendous sound effects and geysers of blood. Here’s a flashy, big-budget movie with a contagious sense of momentum that draws you in whenever crucial story aspects are ignored in favor of setting up the next major conflict. It has musical numbers and is loud and gory.
Quality can be determined by the fact that “Baahubali 2” inspires you to care about individuals who are as morally upright as Biblical figures and as relatable as refugees from a children’s fairy tale, despite some seriously pompous moralizing. Amarendra does, after all, have superhuman strength, agility, and filial piety (like many men in Indian movies, he worships his mom). That’s simply because doing what is right at first glance appears to be powerful in our reality. However, as the film progresses, it becomes evident that even the best individuals can be persuaded to perpetrate crimes against one another while having the best of intentions, which are made abundantly plain with monologues deserving of Frank Capra. This is the case with Bhalla, an innocent character whose petty father Bijjaladeva uses his natural envy to make him hate his cousin (Nassar). In the end, it also applies to Baahubali’s uncle Kattappa and mother Sivagami (Ramya Krishnan) (Sathyaraj).
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It’s encouraging to witness these figures, who are frequently presented as models of virtue and vice, put their resolve to the test—and even fail—in a variety of situations. Sometimes these passing limitations point to character faults, as in Bhalla’s case. However, they occasionally imply that even honorable people are capable of grave errors. It’s encouraging that the movie refuses to evaluate characters purely on how they react to mitigating circumstances.
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That Sivagami and Baahubali’s loyal wife Devasena (Anushka Shetty) both exercise significant influence and power throughout the movie is also significant. They stand by Baahubali as he battles to resist the allure of power (the throne!) and avoid appearing weak in front of his deceitful brother and cunning uncle. In addition to his Herculean physical prowess, Prabhas’s character is admirable for his capacity to make Solomon-like decisions prior to expertly glaring at the camera, making a brief speech, and then soaring into battle.
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I do mean “soar,” too. Even the most commonly used artistic short cuts, like computer-generated imagery (CGI) and speed-ramping (Zack Snyder’s signature technique of speeding up, then slowing down, then speeding up the tempo of a particular action or physical motion), seem novel in comparison to the fight scenes in “Baahubali 2” because they are so inventive. You are invested in the cast’s fate as they use wires to help them fire volleys of arrows at CGI creatures and disposable minions.
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You’ve never seen action scenes with choreography that defies logic and physics like this. With resolve and deceiving ease, Baahubali leaps over castle walls while breaking huge chains with a mallet, fending off fatal wounds with one hand. He is ruthless in battle, lashing an army of enemy soldiers to a tree trunk that he plants in the route of a lightning strike, which causes them to perish. At one point, Baahubali’s mother uses a severed head. Did I also mention there is singing? The film’s oddly arch but lighthearted tone is nicely complemented with poetic, Greek chorus-like swooning that elevates the deeds of our heroes.
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This portrayal of demigod-like men and the principles and family members they struggle to save is refreshingly devoid of sarcasm. And for the first time in what seems like a very long time, this kind of vintage entertainment works without coming off as a throwback or an homage to an earlier piece of pop art. I adore “Baahubali 2” in part because it never once felt like a soulless work of entertainment that was put together by a committee. Many American moviegoers may be perplexed as to how “The Circle,” a brand-new studio-produced and distributed thriller starring Tom Hanks and Emma Watson, was beaten out in the US box office by a movie that received little to no media attention. However, you simply need to see “Baahubali 2” to understand why it had such a successful opening weekend. I hope there are many more great and enjoyable ones like it.
For more personality quizzes check this: 90 Minutes In Heaven Quiz.
