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Baahubali 2: The Conclusion Review – Joyous Action Epic Soars

Baahubali 2: The Conclusion Review – Joyous Action Epic Soars

2015’s Baahubali: The Beginning, the impressive first chunk of India’s most expensive film yet, built towards a literal cliffhanger, with a strongman knifed within the back by a trusted associate on the mountain it had taken just shy of three hours to climb. Not untypical of a film hungrily synthesising centuries’ worth of sacred and secular myths, that shock was all the time going to be tricky to top – so it’s a reduction to report that The Conclusion opens with a no less jawdropping set-to between the
hero’s mom and a stampeding elephant. Here, as soon as once more, is thunderous spectacle unlikely to be surpassed in several summers, and clinching proof of writer-director SS Rajamouli’s place amongst world cinema’s boldest imagemakers.

Baahubali: The Beginning overview – improbable bang to your buck in most costly Indian film ever made

Highless men combat bulls, couples kiss amid orchids, hundreds of flogged extras erect a tower and there’s a forty five minute battle – SS Rajamouli’s two-half epic brilliantly ticks off the blockbuster wish-listing, and innovates with it
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With fairly some explaining to do, The Conclusion’s first half rewinds back into this narrative, dispatching the Herculean Baahu (Prabhas, BeeGeean head of hair ever-billowing) to an idyllic neighbouring kingdom for a lesson or two in worldliness. If the first film inclined towards physicality – find out how to get up that mountainside? – bahubali movie this second initially steps sidemethods into more philosophical terrain. The courtly triangle
established between Baahu, warrior princess Devasena (Anushka Shetty) and self-doubting swordsman Kumar Varma (Subba Raju) prompts a number of questions about these qualities we look for in our leaders; sociologists get some substance to chew between handfuls of popcorn.

The action throughout remains joyous. Baahu’s quasi-cartoonish power permits the film to take mightily imaginative leaps: one minute our man’s casually surfing flaming oxen, the next he’s converting himself right into a human cannonball with the help of a coconut tree. This time, nonetheless, we’re more aware of the stakes underpinning such flights of fancy. Rajamouli plots a nimble, broadly progressive path via an particularly tangled set of courtroom politics – setting Baahu and Deva to
dodge iron fists and wandering arms alike – while alighting upon pleasing grace notes and symmetries: the coda offers a rare convincing demonstration of trickledown economics, even because it returns us to The Beginning.

Fully absent, once more, is any cynicism: it’s wonderful that a blockbuster with an extended pre-title rollcall of "brand partners" should then be permitted to inform a story that might have been filmed in 1917, or 917, in the event that they’d had equipment for a Baahu to lug. This production’s triumph is the room it’s granted Rajamouli to head into the fields and dream up endlessly expressive ways to frame bodies in motion. Of the numerous sequences here primed to cut through jadedness, perhaps probably the most wondrous is that which finds Baahu guiding Deva mid-battle to shoot three arrows concurrently – a set piece that speaks each to a love of motion, and love in action. The funds’s large, the muscle considerable, but they’re nothing compared with Baahubali’s heart.