Published By: Alfaraz Laique

Why we need to talk about visual grandeur of SS Rajamouli’s movies

SS Rajamouli is undoubtedly one of the greatest filmmakers the country has even seen and his visual spectacle Baahubali is the biggest movie of the last decade. However, apart from the eye-pleasing visuals and larger than life celebration of action and emotions, we need to talk more about Baahubali.

An unabashed cinematic celebration of the action spirit, the spectacular visual grandeur ofRajamouli’sBaahubali brings forth a revival of Hindu imagery and symbolism on the silver screen. A glorious reminder of Rajamouli’s cinematic vision, Baahubali combines scenes of an  unparalleled visual grandeur, often attested to the kind of cinema produced in the southern part  of India, themes taken from various Hindu epics and folklore, displaying a picturesque  experience of the Adbhuta (wonder), Veera (heroic) and Shringara (love) rasa, among others.

Problematic themes

The opening scene of the movie grounds itself like a modern Kurukshetra ground. This reference to the historiography of the nation’s folklore is further grounded in the first words of the introduction song of the movie, “Golden Dreams”, thus establishing a fantastical world. The cinematic space of the movie is further hybrid in its account. While Shiva’s life with Sanga seems to go parallel to Tripathi’s Shiva from The Shiva Trilogy; Shiva himself, often comes across as a Tarzan figure, presented as a cultural artefact representing a holistic approach towards nature- an individual who is kept away from the “corrupted world of power-hungry humans. Moreover, the feud over the kingdom, in addition to the characters’ closeted conservatism seems inspired by Vyasa’s Mahabharata.

The struggle

The convoluted struggle between Dharma and Adharma, while remains at the center of  Mahabharata, the binaries between the good and the bad are more sharply drawn in the kingdom  of Mahishmati. While both Bhallaladeva and Baahubali are put forth as excellent candidates for the throne, Baahubali’s maternal ties in addition to his savior values, which extend to his treatment of not just the general public, but also animals, in contrast to the former’s greed and politics which eventually leads him to pave a path of evil, provides the latter with a significant upper hand.

This tussle between the good and the bad, however, revolves around a traditionalist and misogynist kingdom of Mahishmati, boasting of a rather peculiar law of an individual being guilty until proven innocent. While portraying the kingdom’s grandeur and celebrating the valor of the Kshtariya spirit, Rajamouli, however, uses individuals embodying different identities as tropes to enhance upon his own point. This can be seen in the portrayal of different women characters who themselves, reinforce patriarchy and misogyny in the kingdom; in the depiction of Kalakeyas and through the character of Kattappa.