One of the great pieces of excess fantasy non-sense was 2015’s Telugu Fantasy Epic Baahubali. From S.S. Rajamouli, who made the zonkers reincarnation comedy Eega, which sees a man take vengeance on his murderer in the form of a common housefly. (It’s on Netflix as Makkhi, and it’s magnificent.)
Like an Indian Lord of the Rings, we only got part of a movie and had to wait a long time, 2 years in fact, for the conclusion to the film. The trailer, as bombastic as one might imagine, has popped up online, and while you may not have heard of it, over 10 Million people have already watched it in less than 24 hours. Baahubali: THe Beginning briefly cracked the top 10 at the box office in a minuscule number of theatres, and this for a movie sporting a near 3 hour runtime, based on an the Indian, Pakistani, Tamil and Sri Lankan’s in the USA and Canada that are hungry for blockbusters that stem from their own colourful culture.
I managed to catch part one in a packed and rowdy cinema on the outskirts of Toronto and it was one of my favourite blockbusters of 2015 for its nutbar gender politics alone.
When Sanga and her husband, part of a tribe living around the province of Mahismathi, save a drowning infant, little do they know the background of the infant or what the future holds for him. The kid grows up to as Shivudu, a free-spirit wanting to explore the mountains and in the process learns of his roots and then realizes the whole purpose of his life and ends up confronting the mighty Bhallala Deva!
When two opposite ends unite the rod breaks in between. When Shiva, the son of Bahubali realizes his past from Kattappa, he seeks to find consensus to his question : Why did Kattapa kill his father? This, Bahubali- the Conclusion showcases the answer and its consequences on the Mahishmati Kingdom when its roots are stirred.