Megastar, mini toga

Megastar-MiniToga-Adavi Donga

Happy 60th Chiranjeevi! And many happy returns!

Considering the spate of historical epics across the Indian film industries of late, I think it is time to consider Chiru’s visual contribution to the ‘sword and sandal’ oeuvre. Who knows? Maybe we will see toga redux in his 150th film.

Chiranjeevi was never averse to giving the audience some skinshow. As good friend Beth recently commented, “Chiru wears and not-wears with equal aplomb.” He was fearless when it came to wardrobe choices and the question “Why Chiru?” has sparked many a late night philosophical debate with The Mahesh Fan.

Broadly speaking, his toga oriented costumes fall into three categories.

The historically accurate toga or princely miniskirt

Because it is all about the historical accuracy.

The mini toga as outdoor wear

This would have presented challenges both for the wearer and the observer. Horse riding. Ouch!

The gladiatorial political statement

AKA ‘Your Comeuppance Has Arrived’.

Megastar-MiniToga-Jwala

 

I’m sure there are more examples. I did exclude songs involving hitched up lunghis or dancing in underwear or bathers as that is outside of the scope of most (but I suppose not all) historical fantasy epics. Here is a playlist so you can see the glory of these costumes in motion – Let me know of any additions!

 

Andarivaadu

Andarivaadu Poster

Andarivaadu is another of Chiranjeevi’s dual role ventures, although this time he plays father and son who share a house so that adds a degree of difficulty for director Sreenu Vaitla.

But right from the bombastic opening credits it is clear that this is a Megastar film and all other people and events will be quite incidental. And I’m generally OK with that.

Siddharth (Chiru the Younger) decides that his widower dad Govindarajulu (Chiru the Elder) needs to be pulled into line and someone has to take on the task of looking after him. Govind must be the luckiest man alive as Siddhu forces him to marry Shanti (the stunning Tabu). Siddhu also has to settle down some day, and he becomes engaged to his wealthy girlfriend-by-insistence, Swetha (Rimi Sen). Of course things can’t run that smoothly in a Telugu film with such a big ticket star. Swetha’s dad Veerendra (Prakash Raj) has history with Govind he would rather forget, and Siddhu upsets a local crime lord. There is drama, dancing, action and moralising galore before anyone can call it a day.

Mildly surprising for a family-ish film, it opens with an item including rain, pole dancing, and finger sucking. The poor girls must have really struggled wearing their big clompy boots in the water. There is a faint attempt to weave the skanking into the plot as the water tankers have been diverted away from the colony and residents are left for days with no drinking water. Of course, only one man can sort this out. Sparks and a hitched up lunghi signal the arrival of THE HERO!

Govind is a sentimental bloke with a strong sense of family and justice. He adores his son and couldn’t stand to see him hurt in any way, and can’t even harm a slightly evil genius mouse. Chiranjeevi hedges his bets by also playing suave Siddhu, educated and apparently irresistible to all women.

Siddhu gets to wear more knitwear and his dance sequences are a riot of colour. Chiru in some ways tests the waters of being an ageing hero by playing the father, complete with last minute hair dye as he decides he needs to look a bit younger. But since Govind is still a roguish and salt of the earth man who solves all crises and defends the defenseless, he isn’t exactly turning his back on heroic hijinks.

A great benefit of two Chiranjeevi roles is a double up on the dancing and once again he has Lawrence on board as a choreographer. Chiru’s moves are not as sharp as back in the day but he seems thoroughly delighted to get down with his bad self, and his energy is undeniable.

The action relies a little more on nifty camera work than on Chiru flinging himself about but he does a lot of wire work that adds both comedic underscoring and dramatic impact to those scenes. There are some days when the skinny double worked as there are obvious changes in physique in some scenes requiring both Chirus.

Siddhu meets Swetha when she suckers him into pretending to be her boyfriend so she can save face as she has told her friends they’re together. She is introduced through a series of closeups of her butt, her waist and her chest and that is about it for character development. Rimi Sen does little but pout and swish her hair around, although even that exceeds the minimum requirements for a Telugu film heroine. Swetha reflects her father’s belief that wealth is the same as worth. Veerendra tells Govind that he will allow the marriage only because Swetha loves Siddhu and only on condition that Govind not be part of his son’s life at all. Cue noble idiocy as Govind tries to do what he always does, sacrificing his own happiness for his son. And then even more idiocy as Swetha tries to make Govind and Siddhu pay for insulting her father.

Shanti is working as a Hindi teacher and has been running her family household. For some reason she says yes, perhaps because Govind is so honest about all his flaws in an attempt to put her off marrying him. She seems fond of him but does register that he is not the sharpest tool in the shed. Tabu’s role is frustrating. Early on Shanti seems competent, a little bit judgemental as she listens to the sheer nonsense her husband is spewing out, but fond of him and his moustache.

I do love ‘the moustache song’, as I call it.

But later on she loses the scope for the fun expressions and signs of character that made Shanti so appealing. It is a waste of a good actress, but Tabu does what she can to give Shanti some more depth. I liked her rapport with Chiranjeevi and they look good in their dances. In some scenes Tabu looked like she was genuinely trying not to laugh and that actually helped me see Shanti as someone with firm views of her own, even if she didn’t always articulate them. And on a really shallow note, she wears some beautiful sarees.

I am perfectly fine with Govind and Satti Pahlwan (Pradeep Rawat) kicking the living suitcases out of each other, but casual domestic violence is harder to take as entertainment. Govind slaps Shanti (even though he knew she had done nothing wrong) and Shanti dissolves into tearful joy at his acknowledgement that he had slapped her for no reason at all. Grrrrrr! Swetha gets slapped around a bit towards the end of the film but she and Sunil (as an annoying comedy cousin) were just so horrible and scheming that I can almost empathise. Lots of people slap Brahmi but, to be completely honest, nowhere near enough for my liking. I’m a little conflicted.

The climax of the film is not really concerned with the emotional coming of age of two men. There is still the matter of revenge to be thwarted, wrongs to be righted, and the greatest love of all: Will Govind and Ganesh the rat, finally acknowledge their friendship?

Chiranjeevi is showing his age but he also shows why his career has legs. See this for a silly and generally good-hearted action packed family romantic comedy. 3 ½ stars!

Andarivaadu-Ganesh

Roshagadu

roshagadu

Roshagadu – why did no one tell me about you?

KSR Doss takes Chiru, Madhavi and Silk Smitha on a wild jaunt, and I was positively delighted to tag along. Any film that includes speedboat chases, ninjas, karate, and a hot pink sequinned cowboy suit has a good chance at winning me over. Add some feisty women, amazing and hilarious action, Chiru in a double role, and I could not ask for more. Well, except for decent print quality and some subtitles.

Sikander (Chiranjeevi) is a smooth criminal with an aversion to shirts. He seems to be taking advantage of the silliness of the two local crimelords, playing Tyagu (Thyagaaraju) and Bhayankar (Kannada Prabhakar) off each other and emerging triumphant with the loot. In his spare time Sikander frolics on the beach with a bevy of lovely ladies in retro bathers and sensible hats.

I like the bit where he rolls one of them into the water so he can sunbathe in her spot. A charmer, but not a gentleman.  But did I mention he has a lair! Concealed in a temple and only accessible via a secret and overly complicated thingie! The lock mechanism appears to rely on angle of the sun or time of day, although I have no idea why and it does rather limit the usefulness of the construction. Sikander also has a secret red book hidden in a secret (but unlocked) cupboard.

Main villain Bhayankar is prone to over-elaboration and has an addiction to the double cross that is almost endearing.  Amongst his assets, he has a gang of bikers whose jackets helpfully spell out KILL. Sikander pops out of Bhayankar’s car boot mid-execution, says hi and then takes both the money and the box. He has such swag! And Bhayankar has nothing to counter him with.

Tyagu is more bumbling than Bhayankar, although his style is far more flamboyant. I became quite fond of Tyagu’s henchman in the stripey top as he looked faintly embarrassed at the ridiculous shenanigans around him, and his outfit helped me identify which gang I was looking at.

Meanwhile on a train, Miss Neelima (Silk Smitha), a club dancer gets caught up in a smuggling racket when the contraband is hidden in her makeup case. The police find the diamonds but Sikander finds the police AND the diamonds. Neelima knows he is a fake, so now she knows she once had the diamonds, she wants them, and she knows who has them. However she does show appalling judgement by doing a Faux-gyptian club number with a toga clad man who is not Chiranjeevi. Silk is funny and fiery as Neelima and I really enjoyed seeing her in a more substantial role. She tackles the action scenes with energy and grit, and while Neelima uses her charms she is not just in the story for her looks.

Sikander and all the baddies disguise themselves to attend a wedding so they can steal the jewels. The others don’t know that Sikander has formed an alliance with Neelima. She impersonates the bride and after all the double double crosses go down, she whips off her mask, wig, and saree, and the game is afoot! There is a fun sequence of keepings off with the case full of bridal bling before Sikander finally scarpers with the haul.

After a bit of mutual keyhole peeping, a skanky dance ensues (and apologies, I can only find the Hindi version of some songs online). I like that while her dress seemed vaguely improvised and towellish, she had matching suede wedges. Very organised. I couldn’t quite work out why Neelima tipped Bhayankar off about the secret book and let him in to the swanky apartment. Sikander escapes and hands off The Book to a bloke on the roadside. The respite is brief as he is shot and his car crashes, eventually plunging into the sea, rendering him Completely Dead.

Srikanth (Chiru with a different hairdo) looks just like Sikander but spends his time dancing cutesy duets with Madhavi. She is from a rich family while he and his little sister seem to be a lot less well off. Madhavi’s character doesn’t get much screen time but she is quite interesting. She seemed quite forthright with her father when he took exception to Srikanth, and she doesn’t waste a lot of time on crying or pouting. She is ready to do what needs to be done from supporting Srikanth in his goals to kicking a few of her own.

Srikanth’s sister is set upon by sleazebags who decide rape is as good a way as any to while away a rainy afternoon. She puts up a very good fight and as her bro was out looking for her anyway, Srikanth is soon on the spot. He drives a tractor through the door and then repeatedly throws the rapists through each of the remaining walls. How did this building ever stand? Srikanth is seen by Tyagu’s men (bless that stripey man for gang identification). Bhayankar’s man saw him too so everyone thinks they have a chance at getting back at Sikander.

Neelima and Srikanth end up in Bhayankar’s lair. They put the pieces together – he is missing a significant mole so cannot be Sikander, and she is actually a police officer! Then they escape by pushing some cardboard boxes out of the way. I don’t think anyone in this film nailed the functional specs for their respective lairs. Bhayankar recaptures Srikanth easily enough and kidnaps his sister too. They tie Srikanth to the hood of a jeep and make him watch as they run over his sister. He escapes and swears vengeance.

He starts boot camp under Madhavi’s loving gaze and learns karate, perfects some Jedi mind trick to shoot things without looking at them, does motorcycle tricks, horse riding, stuff. Srikanth really embraced Sikander’s style. And sets his plan in motion by performing at the night club wearing a hot pink sparkly cowboy outfit.

And just when you think that might not work, a Ninja suited goon in the audience jumps up and runs away…But why no sign of Srikanth in pursuit?

Of course. He stopped to change into appropriate duelling attire.

Tyagu and Bhayankar join forces to get rid of pesky Srikanth. They kidnap Madhavi who had the secret red book. But Srikanth and Neelima are both in hot pursuit as the police largely stand back and let the vigilantes take care of justice. Silk is all kinds of awesome as Neelima goes to rescue Madhavi, and the ladies win their freedom. Doss throws EVERYTHING into the mix, starting with the duel and then adds a dollop of vehicular vengeance and a bit of “karate”.

The trove is revealed and baddies rejoice in their pick of the bling – but then a shot rings out. After an excellent fight with lots of polystyrene props being smashed, Bhayankar and Srikanth run off to the finale. They narrowly miss the ladies who have come to rescue Srikanth. They don’t seem too fussed and take the opportunity to beat everyone to a pulp. You go girls! But that’s not all. Let me just say the Karma Bus made an appearance. And it’s a good thing Srikanth was wearing sensible leather trousers.

This is a fun film that has little substance but a lot to enjoy. B movies often had the best heroines and I really liked Madhavi and Silk and their characters, with everything staying on the right side of improbable. Chiranjeevi is in his element as both the suave thief and the righteous hero. 3 ½ stars!

Roshagadu-Come get me ladies

Jwala (1985)

jwala

Jwala hails from deepest darkest 1985, and is the first collaboration between Ravi Raja Pinisetty and Chiranjeevi. It’s a typical mass effort with the added delight of Chiru in dual roles. I watched this on a terrible quality print and with no subtitles so I was quite confused until I realised there were two Chirus!

The story opens with a Chiru being washed and dressed by his Ma. He is an adult, but buttoning up his shirt seems to not be in his skillset. As it turns out, that trait runs in the family.

Jwala-the kittens know

The Chakravarthis (Annapoorna and Satyanarayana Kaikala) fight about their sons under the watchful eyes of kitten art. There’s floppy haired Yuvaraj who cannot dress himself but is respectable, and Raju who favours an up-do and also cannot dress himself, but is possibly working as a mechanic and maybe has slightly rowdy-ish tendencies.

Bhanupriya has a troubled relationship with cars. She nearly runs Yuvaraj into a ditch, he runs her off the road, she retaliates against his parked bike and flees the scene leaving a cocky note and a blank cheque. Bhanupriya’s dad is less than happy when the cheque is presented with a generous amount filled in but hardly surprised.

She flounces off to a nightclub and sees Chiru , but he doesn’t seem to care or recognise her. She goes off in a huff, casting aspersions on his ability to shake what his mama gave him, which can Only Mean One Thing. A quick change later and Chiru hits the stage that has been used in so many films I cannot name off the top of my head.

I love that he is frozen in mid-air to give people ample time to applaud. Bhanupriya is furious that his outfit is better than hers and goes home in an even bigger huff. Her house has a photo mural and a cuckoo clock so she knows Style. Her dad lectures her about huffiness. I think maybe the money was either returned or used for a good cause, but he seems to be quite OK with motorbike dude. And that was about it for her – a couple of songs and a simper, never to be seen again.

Meanwhile Janaki (Radhika) is sold out to cover a debt. Raju (Chiru) sees this go down and rescues her from the sleazy baddies.  But Raju can’t save Janaki from all harm. People are calling her second hand and men see her as an easy mark. Raju realises he can’t bash everyone up – especially the really old ladies – so he marries Janaki. They do have a conversation about something before he ties the knot but I am not sure what it was about and whether she was actually consulted. However, neither of them looks unhappy, and when they go to his house to pay respects Raju reassures her while his dad goes nuts. At least his mum welcomes her daughter in law and there is time for a group hug. Radhika is a versatile actress and she manages to build a sense of Janaki and her feelings for Raju in small unspoken ways. Despite seeming to start purely through obligation, their relationship has many moments of warmth and sweetness.

 

In a room with another photo mural, the brains trust of the gang meets before adjourning to the tastefully appointed lair; skeletons, eclectic art collection, taxidermy, comfortable chairs… bedazzled gloves. The flamboyant Boss (Kannada Prabhakar) has a son who has been in the US so you know he is bound to be a creep. The Son begs to be allowed to run smuggling as he thinks it will be a thrill. There is so little common sense in this family it truly is a miracle they have managed to be so successful. The Son clashes with SP Chakravarthi on the beach when smuggled goods land. It’s too dark to see what’s going on but he is killed in a gunfight and now there is Revenge to be had.

The fight choreographer seems to be obsessed with Chiru’s thighs. The action requires he crush many an evildoer betwixt them as he hangs from a beam or does an impressive handstand to snare his opponent. Van Damme’s got NOTHING on Chiru! And all that rowdy lifting kept him in good form for duets.

My copy had this ad just after one of the fight scenes. Annoying, but appropriate product placement.

Raju is framed for murder and sentenced to jail. I don’t know what happened with the film but this section is mostly shown in stills. The Boss calls Chakravarthi and tells him why he has targeted his son. This causes 1) a tearful reconciliation and b) death.

Raju breaks out of jail. Yuvaraj flies home for the funeral and is met at the airport with news his big brother is now an escaped felon. While Yuvaraj rues that the rites won’t be completed by the eldest son, Raju turns up to light the pyre. After a justice versus vengeance bro-ment, the only thing that can happen next is an abrupt jump to the gang’s tastefully appointed courtyard for an item, complete with Silk Smitha humping all the props.

Jwala-that outfit

Yuvaraj wants Raju to turn himself in but Raju is on a mission, with firm views on appropriate forms of execution. Proving that apart from the shirt button thing, the brothers also share excellent groove genes, he undertakes a gladiator mini-skirt clad dance of death.

I almost said no one saw the flaming spear coming, but…

Yuvaraj tries to arrest Allu Ramalingaiah but protection from on high thwarts his plan. Raju seems to know his brother is only going to get into trouble trying to do things legally so he stays on task. He even impersonates Yuvaraj to get close to his next victim.

Jwala-surprise

The uniform was a good disguise, but once the hat comes off and the up-do is unleashed all is clear. I think the unbuttoned shirt was also a good indicator.

While Janaki sings to her fugitive Raju over the phone (oh, sorry I must have some dust in my eye), The Boss attacks her. She puts up a hell of a resistance until finally she runs out of room to fight. Raju finds her in a pool of blood. She asks him to kiss her, either for the first or last time, and she dies in his embrace. Raju is a killer and not to be lauded, but his life seems to be tidied away so neatly and with so little left that it’s a bit sad. He loses his parents, his wife, and his kid brother is on a different path.

The final showdown is brutal and silly and epic and even a little bit moving. I wasn’t really expecting one Chiru to take on the other Chiru, but then who else could stand up to a Megastar?

This is probably one for the Chiranjeevi  completists, but it’s not completely without merit for the non-fan. Bhanupriya is wasted in her small role, but Radhika stands her ground and carves out space for Janaki in a man’s story. The plot gallops along, the action is energetic, and there is just enough light relief through the songs. Bonus points for no extra comedy track. 3 stars!

Baahubali

Baahubali-Poster

Baahubali is reminiscent of classics like Patala Bhairavi and Gulebakavali Katha, with long lost princes, secluded kingdoms, stunning visuals and swashbuckling action. Rajamouli builds steadily to the cliffhanger climax with some fun, flirting, fighting and flashbacks along the way.

A baby is saved by the sacrifice of a majestic woman. He grows up happy and ignorant in a small village, but is always drawn to the high mountains. He tries to scale the massive waterfall to reach the peaks but always fails. Until one day a vision of a beautiful woman leads him to success and he stumbles into the kingdom of Mahishmati. Grown up and frequently shirtless Shivudu (Prabhas) meets his dream love Avanthika (Tamannaah). She is a warrior on a mission to rescue Devasena (Anushka Shetty), held captive for over 25 years by ruthless king Bhallaladeva (Rana Daggubati). Bhalla hates Devasena because she once chose his rival, the legendary Baahubali. And Shivudu is the very image of Baahubali. Hmmmm.

The majestic woman was Sivagami, the queen mother, played by the stunning and regal Ramya Krishnan in an extended flashback.

I was so excited to see her in the cast, and even more so that she has a substantial role. Sivagami is reasonable but ruthless, her eyes blaze with power, and her word is the law. She rules the kingdom and Ramya Krishnan commands every scene she is in. Sivagami has a nice dynamic with Kattappa (Sathyaraj), her enforcer and bodyguard. Sathyaraj doesn’t need a lot of dialogue to build a strong characterisation, and as the story unfolds Kattappa becomes more complex and ambiguous. This royal family has some baggage.

There is always a point where a Telugu film hero pushes all others aside so he can do the hero-ing. I quite liked that when Shivudu tells Avanthika that her dreams are now his so he will go free Devasena for her, he actually had no skin in the game and really was doing it to help her. Sure, he had had some run ins with the kingdom guards but he didn’t know who he was or that he might have a more personal interest in the outcome. Avanthika drugged him to give herself a head start and he didn’t reproach her for that either. It was more of a partnership, with Shivudu acknowledging that she wasn’t going to give up just because she had been distracted by his flexing.

Baahubali-Tamanna

I have high hopes that by the time the second movie starts Avanthika’s ankle is healed and she will resume arse-kicking, and will be motivated by having something to fight for rather than a cause to sacrifice herself for. I also liked that Avanthika’s nihilism was displaced somewhat by an appreciation of beauty and her acceptance of love even if it is a filmi cliche.

The subtitle team gave Shivudu an unexpectedly genteel aspect as he frequently said things like ‘oh my!’ and ‘oh my goodness!” which didn’t seem all that warrior like. Prabhas is so genial and his dialogue delivery sounds a bit too modern and mumbly for a genre piece, but he totally commits to the role and does the best dance-fight-makeover I have seen. While I objected to Avanthika being forcibly partially stripped (mostly due to the inclement weather), I did appreciate that Shivudu had a steady hand with the eyeliner. And that Rajamouli had Prabhas cavorting under a waterfall as much as Tamannaah did. Prabhas and Tamannaah make a nice looking couple but I am more interested in seeing how their story ends.

Rana was very impressive, both for his ye olden days shirtless physique and his performance. Rana gave Bhallaladeva enough smirking nastiness to be delightfully hateful but also showed he was a smart and fearless warrior who legitimately had reason to expect he could be king. Bhalla might not go out of his way to remove Baahubali, but he would take advantage of a situation if fate presented. His scenes with Devasena were imbued with the weight of years of brooding and venom and he declaimed the spiteful dialogue with fiery precision. Anushka gave as good as she got so I am looking forward to their backstory being developed in the next film and seeing a bit less of her dodgy weather-beaten makeup.

Baahubali-Kalakeya

The Kalakeya are Ooga Booga natives complete with dodgy “tribal’ accoutrements, falling somewhere on the Mad Max to Lord of the Rings tribal baddies spectrum. They presumably can’t speak Telugu because they are Orc-ish, and I guess choosing another regional language would have opened up various cans of worms so the faux Bushman-esque dialogue may be a smarter workaround than it seemed.

The action scenes are awesome and the final battle is truly spectacular. While there is a heavy reliance on war machines and fancy armaments (I loved Bhalla’s Lawn Mower of Death), the stakes are still very personal. Kalakeya tries to stop Baahubali by literally throwing more people at the problem. It’s a cheesy idea played totally straight and it just about took the roof off the theatre when Baahubali emerged from under the pile of bodies.

The production design is beautiful and this is well worth seeing in a cinema just for the gorgeous fairy tale design and for all the things. The waterfall! The CGI is sometimes clunky but it does create the right impression even if specific moments are not seamless. I am not sure what I think about the watermark that appeared on screen whenever a CGI animal was in the shot. I wasn’t fooled for a second by the bull that Rana wrestled but I admit I was paying more attention to his shoulders than the bovine opponent. A fight scene in the ice and snow is poetic and deadly like a masala-fied  Zhang Yimou, and the subsequent toboggan escape is pure Bond. There were about 20 shoemakers credited in the end titles. After some discussion Heather and I decided that it must be hard to make shoes that don’t look like shoes but that still do the trick. Bravo cobblers! Take a bow goldsmiths!

MM Keeravani’s soundtrack left minimal impression on me as I was caught up in the story and visuals. The item number Manohari was a stand-out; sensual, saucy, and a bit silly. The girls got handsy with Prabhas as as lots of drunk guys swayed past on ropes or acted as platforms for the ladies. He was more like a prop for the girls, and they used his lanky frame to excellent effect.

Rajamouli has a knack for casting. I’d never thought of Sunil as a leading man but Maryada Ramanna proved otherwise, and we all know the real star of Eega. Casting Ramya Krishnan as Sivagami is genius, and while I was slightly disappointed that Anushka had so little time on screen in this first film I am very VERY excited about seeing her character in the finale. The support cast are all pretty solid and the multitude of characters are distinct and memorable from Shivudu’s villager family to the minor royals and the forces out to liberate Devasena. Oh, and Rajamouli himself, finally venturing out of the end credits and into the main film.

SS Rajamouli has a great sense of how to translate narrative into visuals and how to build the world he needs to tell his story. Baahubali is truly grand and still totally masala, true to its Telugu roots. See it!

Heather says: Baahubali is an epic film in every sense of the word and I loved every minute! It really is sweeping fantasy adventure on a gigantic scale and I will need to watch it again (and again!) to fully appreciate all the amazing detail. From the sheer immenseness of the towering waterfall in the opening scenes and the lavish Kingdom of Mahishmati to the delicate design of the jewelry and everything in between, the film looks amazing – due no doubt to the cast of thousands mentioned in the end credits. But it’s not just a visual spectacle, as Rajamouli breathes life into a classic mix of mythology and folklore to provide an entertaining and captivating story, naturally along with a good dash of derring-do and plenty of flexing of muscles!

I’m a big fan of Prabhas and he really came into his own once he got a sword in his hand. I was quite impressed by his rock-climbing technique too, although he did seem to miss a few good cracklines that might have made his ascent somewhat easier. However it’s not all just about the muscle flexing, and Prabhas does have plenty of likeable charm throughout and adopts a suitably commanding presence on the battlefield. Rana was every bit as good and he seemed to relish the occasional ambiguity of his character even while embracing the dark side.As Temple mentions, Peter Hein’s action is excellent on every level, and the epic battle scene in the second half is simply superb. I prefer to think of Bhallaladeva’s device as the spinning scythes of doom, perhaps betraying my love of LOTR, but there is plenty of other weaponry to make my inner fantasy nerd happy.

Rajamouli is also to be congratulated for including four strong female characters who all have important roles to play in the story and who don’t fade into the background when the hero appears. Ramya Krishnan surely must have the best eyes in the business and her imperial mannerisms were perfectly delivered. I think I need to adopt her attitude for my lectures – my word is the law! Great also to see Tamannaah’s warrior role wasn’t just an excuse to let her run around in skimpy attire and wave a sword, inappropriate winter clothing aside. She did get to do some real fighting and looked appropriately fierce when required. Like Temple I was disappointed in Anushka’s make-up but I’m definitely looking forward to learning more about her character and Sathyaraj’s excellent Kattappa in the conclusion. With amazing production and excellent performances from all the cast, plus Rajamouli’s legendary story telling skills, Baahubali is not to be missed. Just make sure you see if in the cinema for the full effect. All I can add is roll on part 2!