Baahubali 2: The Conclusion

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In the lead up to possibly the biggest Telugu film release this year, the question I wanted to know wasn’t so much, ‘why did Kattappa kill Baahubali?’, but rather, was Baahubali 2 going to be worth the wait? And the answer has to be a resounding yes! Rajamouli breathes new life into the traditional story of sibling rivalry and dynastic disputes, ensuring that The Conclusion is every bit as exciting as The Beginning. There is the same epic scale, fantastical scenery and gravity-defying action sequences plus plenty of Prabhas and Rana in fine flexing form. Best of all, this time round Anushka gets to prove that’s she’s just as much of a warrior as the guys and she completely kicks butt as the beautiful princess Devasena.

Rajamouli’s commitment to blood and gore starts right from the opening credits where a number of key events from the first film are loving re-created as CGI ceramic statues – including a torso and detached head with spiralling blood. You just know it’s going to be spectacular when even the opening credits have such exquisite attention to detail – and it just keeps on getting better.

Logically, the film begins where we ended last time, with Kattappa (Sathyaraj) relating the story of his father to Mahendra Baahubali (Prabhas). Straight away we’re swept back into the flashback and the conundrum of who will rule Mahishmati – Amarendra Baahubali (Prabhas) or Bhallala Deva (Rana Daggubati)? Although at the end of Part 1 Sivagami (Ramya Krishnan) declared that Amarendra would be King, Bhallala is still plotting and scheming along with his father Bijjaladeva (Nasser) ensuring that the path to the throne is likely to be littered with dead bodies. Once Amarendra leaves for a whistle-stop tour of the kingdom before his coronation, the way is clear for Bhallala to plan his brother’s downfall and even if the story is relatively predictable, it’s how we get to that final betrayal that really matters.

On his tour, Amarendra travels through the vassal kingdom of Kuntala where he meets Devasena for the first time and falls in love. The romance is beautifully developed, from the moment when Amarendra sees Devasena wielding a sword and is completely smitten, to a sequence where, in the middle of a battle, he teaches her how to fire multiple arrows at the same time. It all unfolds very naturally with little of the sexism of the previous film – this is a more equal partnership and both treat it as such right from the beginning. Anushka is completely mesmerising as Devasena and has as much arrogance and belief in her own self-worth as Sivagami, ensuring that the two have some powerful clashes that almost outdo the fights on the battlefield. Here is all the back story we wanted that explains how Devasena could survive for those 25 years chained in front of the palace with her all-consuming desire for revenge. My favourite part is Devasena’s reaction to Bhallala’s sleazy commander-in-chief when he harasses the women at a temple. She believes in swift and pertinent justice, which got a huge cheer from the cinema and totally won me over to her side for the rest of the film.

Ramya Krishnan is wonderfully regal as Sivagami, ruling in declarative sentences and still disinclined to believe that her son could possibly be evil. Rajamouli gives Sivagami the chance to show a little maternal guilt over her clear preference for her nephew over her own child, making her seem just a little more human. Later, she has doubts and struggles to reconcile her perception of Amarendra as the ‘perfect prince’ with his combative stance when he dares to question her decisions about Devasena. Some of her choices seemed a little unlikely when compared to the wily and competent ruler from Part 1, but factoring in her determination to uphold the law and the universal truth that a mother tends to believe her child, her decisions are within the realm of possibility at least.

Another big plus is CinemaChaat favourite Subbaraju as Kumara Varma, Devasena’s cousin. Although his character is initially played for laughs, there is a serious side too, as despite not being a fighter or showing any signs of a courageous heart, under Amarendra’s influence he finds the strength to fight back when necessary. In Rajamouli’s world, heroism is infectious and it’s not just the god-like heroes with super-human endurance who can make a difference, ordinary people can stand up and fight too. The theme continues when the film moves back to the present day, although not so well-defined, but it’s good to see a move away from a completely hero-centric storyline and more substantiative support characters.

I adore Prabhas and he is completely amazing in both roles here. As Amarendra he is fierce and combative, but also shows off his comedic skills along with a more romantic side to his character when he meets Devasena. The fight scenes are superb and I like that Amarendra has a handy, portable, travelling axe that is more effective than expected – it’s also a nice contrast to Bhallala Deva’s more ostentatious lawnmower of death and massive telescopic mace. Amarendra also shows commitment to science and engineering, taking the first steps to introduce Mahishmati to an industrial age with various contraptions he builds. Some of these are more practical than others, but obviously the skill is genetic since his son comes up with some similarly inventive ideas when faced with the challenge of attacking the city walls back in the present day. There is plenty of shirtless flexing too, although Prabhas mostly keeps his chest under wraps until later in the second half when he has to compete with Rana!

Of course, the strength of any hero is only as good as the villain he faces and Rana is excellent as the devious and amoral Bhallala. This time he is more obviously evil and deliberately choses the nastiest method he can to undermine Amarendra’s reputation with his mother. He’s also still a magnificent warrior, and the final battle scene with Mahendra in the present day is powerful and compelling as the two slug it out in front of the massive golden statue.

The final conclusion in the present day is fairly short and seems somewhat rushed with little dialogue or preparation before Baahubali heads off to tackle Bhallala. Disappointingly, Avanthika (Tamannaah) only has a very brief appearance during the final battle and no significant interaction with Baahubali at all. I like the symmetry between the start and the end of the film with Devasena’s fire-walk for justice, but I would have preferred a little less flashback and more of Baahubali’s reaction to his origins before the final battle. That battle is awesome, but also seems to finish rather abruptly, so I’m hoping (probably in vain) that we might perhaps get a Baahubali 3 that does delve into the relationships of the present day a little more.

I enjoyed M.M Keervani’s music, although I was too caught up in the visuals and catching the subtitles to really appreciate the full scope. However Hamsa Naava and Dandaalayyaa are both beautiful on the big screen and I loved the martial theme of Saahore Baahubali.

The visuals are stunning and although the CGI isn’t as slick as a HW production, it still looks amazing due to the sheer scale of the images. Although there may not be a waterfall this time, instead there is a beautiful palace in Kuntala, a stunning boat that turns into a flying swan surrounded by cloud horses and a totally epic coronation where a cast of thousands almost bring down the palace with their enthusiasm for Baahubali. The action too is on a grandiose scale. Aside from the titanic battles, Amarendra Baahubali surfs on the back of cows with flaming horns, rides on an elephant and fights almost without even looking at his opponents. It’s truly epic, particularly when combined  with the uplifting themes that justice will prevail and real courage comes from those who believe in truth. With amazing ability to draw you so completely into his world, Rajamouli delivers another enthralling story that needs to be seen on the big screen to fully appreciate his vision. Don’t miss it!

Temple says:

Well, now we know where all those engineering grads with filmi connections end up…They built the kingdom and weaponry of Baahubali 2!

The thing I have long admired about Rajamouli is that even when I know what is going to happen, he crafts the drama and visuals so beautifully that I still care enough to be on the edge of my seat. It was a big ask to follow up the cliffhanger of the first film and not lose the dramatic propulsion to the finale and largely, he nailed it. There are some draggy bits but they weren’t actually dull so I didn’t mind having a bit of leisure to admire the design and occasional flourishes of whimsy. Finally, a director who gets how and when to use a swan boat (even if it looks like a top heavy chicken), and what a fantasy sequence can look like when you don’t try and make it all from painted polystyrene! I do wish they’d done something about Nasser’s rubber chicken claw hand though.

Prabhas is a delight, giving his characters both gentle goodness and a steely core, with the bonus of excellent nonchalant posing. Rana makes Bhalla a despicable and venomous man, but not completely incomprehensible in his motivation. I liked their dynamic together, and they just go all in on the fight scenes. Anushka is one of my favourites and I was so excited to see her character given some depth and competency, as well as all the usual accoutrements of a kickarse heroine. I think Prabhas can evince chemistry with anything or anyone, but Anushka gave Devasena such a liveliness that their scenes crackled with life. I actually didn’t mind that Tamannaah only appeared to kill a few baddies at the end. Based on the first film, she just didn’t stand up to Anushka or Ramya Krishnan and Avantika wasn’t integral to this part of the epic. I was glad she reappeared as a warrior though, not simpering in a sari. Subbaraju did a bit of simpering and flouncing so I guess he made up for that, with his OTT posturing settling into a more genuine will to do the right thing. And what is not to admire about Ramya Krishnan, who has been a charismatic and slightly terrifying presence in films for so long. She is amazing and Sivagami is a great fit for her.

Despite all the Ye Olden trappings, this is a pure masala film. The classic themes of family, orphans, loss, justice being separate from law, duty, and insta-love are all there. Rajamouli knows these conventions and tropes and he is so deft at throwing them into new and glittering configurations. He coaxed some truly epic characterisations out of his modern day urban kid actors, and allowed some of the old hands to shine. Yes there is some dodgy CGI and yes some actors are less impressive than others but it just works. Trust me.

Don’t nit pick. See it on the biggest screen you can. Enjoy!

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Si3 (Singam III)

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Si3 is the third film in the Singam franchise from writer/director Hari and team, and it follows the same basic formula as the previous two films. That’s not necessarily a bad thing but the problem here is that Hari sticks rigidly to the format and includes far too much lacklustre comedy and insipid songs that do nothing but distract from the main plot. That is rather less than expected too, although there is plenty of fast-paced action and blistering fight scenes, the story is scantily developed while characters some and go without ever establishing any sense of who they are and what their relationship is to the story. Suriya also seems to be on overdrive – every dialogue is delivered in either a hoarse snarl or a loud shout and the character of Durai Singam even less plausible than usual, having moved on from portraying a one-man army to more elemental unstoppable force that slams villains into the ground so hard that they almost ricochet into orbit. It’s excessive and overdone but the fight scenes are still fun to watch – if only the rest of the movie had been anywhere near as entertaining.

As the film begins, Durai Singam is seconded to the CBI and sent to Vizag in Andhra Pradesh to investigate the murder of Police Commissioner Ramakrishna (Jayaprakash). The local police are surprisingly grateful to have Singam foisted onto them but the local villains, headed up by the enterprising M.S. Reddy (Sarath Saxena) are rather less thrilled by his arrival. Cue major fight at the train station that’s over almost before it begins as Singam throws his opponents through anything remotely breakable before leaving for Vizag police station. Vidhya (Shruti Haasan) spots Singam’s thug annihilation program at the station and instantly decides to follow and harass him by declaring her undying love at every opportunity. Vidhya’s attempts to entice Singam to reciprocate her love are mainly used as comedy, although there is nothing remotely funny about any of these scenes and Vidhya’s character is painfully immature and brattish. Vidhya is an investigative reporter and does have a minor part to play in the plot as well, but Shruti is completely wasted here in a role that requires her to do little more than pout at appropriate places and dance in a few oddly placed songs.

Although Singam is now married to Kavya (Anushka Shetty), he decides that for security reasons she shouldn’t accompany him to Andhra. However, Kavya decides to come along incognito using working for her father as an excuse, managing a few brief meetings with Singam and suffering through some appallingly bad wardrobe choices during an awkward song in the snow. Like the rest of Singam’s family back in TN, Anushka only appears as a means to link the previous movies to Si3 and otherwise her presence is completely superfluous to the plot.

Sarath Saxena is good as the don in charge of the criminal element in Vizag, but he doesn’t appear on-screen enough to develop much of a presence. He’s also not the main villain either, which is a shame since he would have been a much better choice than Thakur Anoop Singh. Singh’s Vittal is the son of the Central Home Minister but despite his parentage is an Australian citizen based in Sydney. His company is involved in the illegal dumping of Australian waste in India, with the Vizag part of the operation under the control of Reddy and his gang, which provides the connection back to the murder of the police commissioner. Sadly Vittal is an ineffectual villain who looks as if he has just stepped out of a shampoo commercial and spends most of his time pumping weights and channelling his inner Salman Khan. He is also horrifically violent to women, using this as a tactic to force other men to follow his commands. It seems oddly cowardly for a Tamil villain and I presume that Hari was ensuring that Singam’s opponent appeared as vile as possible, although I don’t think this was the best approach. Vittal is childish and indecisive and it’s hard to believe that he has built up a criminal empire given his whingeing and temper tantrums whenever things don’t go his way.

Without a strong villain, the story collapses into a series of frenetic fight scenes, punch dialogues from Singam and puerile comedy from Soori as police officer Veeram. There are some excellent actors in the support cast but they are given little to do and have very limited screen time. As in the previous Singam films, the focus is all on Suriya and the wafer-thin plot is purely an excuse to add in more fight scenes and shots of Suriya morphing into a lion or confidently striding around Vizag in his police uniform. Thankfully, Suriya is up to the challenge with his presence almost enough to hold the entire film together despite the hectic pace and general lack of a coherent storyline.

Harris Jayaraj provides the music but the songs are not memorable and the best, an item song featuring Neetu Chandra, is completely overpowered by the action taking place around the dancers. The rest are insipid love songs which are erratically pictured in various foreign locations, although I was happy to see Suriya in a Rishi Kapoor-style jumper at one point.

The best parts of the film are undoubtedly the fight scenes (despite the insane tossing around of villains like confetti), and Hari makes sure there are plenty including a variety of locations and items-to-be-smashed too. While Suriya is excellent as Durai Singam no-one else in the film has a chance to appear as anything other than as a bystander to events, although Krish does just manage to be noticed as Singam’s trusty assistant Sreenivas. Si3 suffers from the success of the previous Singam films as Hari has tried to make the third outing bigger, louder and even more action-packed but without a coherent plot, all the special effects, super-speed action and fight choreography aren’t enough to make a good film. Si3 is watchable, entertaining in parts and occasionally thrilling, but it could have been so much better.

Yennai Arindhaal

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Gautham Menon’s third and final instalment in his ‘police trilogy’ has a more complex and interesting storyline than the previous two films, although there is still plenty of action and more than a few thrills. This time Menon focuses more on relationships, using these to define top cop Sathyadev (Ajith) and his reactions to various events throughout his life. One of the most important is Sathyadev’s relationship with Victor (Arun Vijay), a thug who ends up running an illegal organ trade, and who has a significant history with Sathyadev. Gautham Menon plays with the similarities between the two men who seem polar opposites but in reality have much in common despite sitting on opposing sides of a thin line.  There is also his relationship with his step-daughter Eesha (Anikha Surendran),  Eesha’s mother Hemanika (Trisha Krishnan) and right at the start, his relationship with his father (Nasser) whose murder is the starting point for that thin line.

The film starts by introducing Thenmozhi (Anushka Shetty), a smart modern woman who works as a software engineer. On a flight back from Boston to visit her sister, Thenmozhi ends up sitting beside a man she describes as the most gorgeous she has ever seen, but since she spends most of the flight vomiting into a sick bag it isn’t the most auspicious of meetings.  Her flight companion is Sathyadev, who is there to protect Thenmozhi from a kidnap attempt from the gang of organ thieves, although she doesn’t discover this until later. Somehow Thenmozhi’s heart has been identified as a perfect match for one of the gang’s clientele and a team of dodgy doctors are ready and waiting to perform the surgery just as soon as they can get their hands on her. Sathyadev’s old rival Victor is leading the gang and the film moves into flashback mode to explain the enmity between the two men and Sathyadev’s involvement in the current case.

The flashback goes right back to the murder of Sathyadev’s father, a moment where he had to decide which path to follow and on which side of the line to fall. The possibilities were there – to become a gangster and seek revenge, or to become a police officer and seek justice. No prizes for guessing which way Sathyadev decided to go, or that the very next scene sees him in jail. Of course all is not as it seems. While inside, Sathyadev becomes friends with Victor and the two escape together allowing Victor to marry the love of his life Lisa (Parvathy Nair) and have a jolly good knees up at the wedding.

After Sathyadev reveals himself as a police officer who has only befriended Victor as a way to get to his boss Matthew (Stunt Selva), Victor is devastated at the double whammy of the betrayal and his bad judgement in trusting Sathyadev. Unfortunately Menon doesn’t spend much time establishing the character of Lisa, but from snippets later on, it’s clear that she is instrumental in much of Victor’s later actions and she has a passionate vendetta against Sathyadev. I really wanted to know more about Lisa and why she was so deeply involved in Victor’s wicked schemes, but she glossed over quickly and her motivation is sadly never explored. Victor too doesn’t get as much character development as I would have liked but since he is basically completely evil maybe there isn’t much else we needed to know. As the tension mounts and his schemes are thwarted by Sathyadev, Victor has a couple of excellent hissy fits that perfectly convey his frustration and anger. Although he doesn’t have much scope, Arun Vijay does a good job with the character of Victor and his screaming, spitting frustration boils off the screen in the final scenes.

Lisa is the love of Victor’s life, and as such is his greatest weakness. For Sathyadev, it’s Hemanika, a Bharatanatyam dancer he meets while working undercover as an auto driver. The romance between the two is sweet and develops slowly, allowing Sathyadev to show a more introspective and human side. Hemanika has a daughter, Eesha, and for all her modern outlook (divorced single mum) she’s strangely reluctant to believe that Sathyadev can really love another man’s daughter as his own. This part of the film is beautifully done and Trisha is superb as she expresses all of Hemanika’s hopes and fears for the relationship.  Her characterisation is subtle but effective and fits perfectly into this more emotive storyline.

Of course we know it’s not going to end well, and as events unfold Sathyadev is left to look after Eesha on his own. Rather than brushing this off as an inevitable consequence of the relationship and using Eesha purely as a bargaining tool against Sathyadev in the later scenes, Gautham Menon instead uses the developing relationship to give deeper insight into Sathyadev’s character. The way Sathya breaks the news of her mother’s death to Eesha is poignant and natural while the road trip the two take to allow Eesha to grieve for her mother is an excellent depiction of Sathyadev’s developing fatherhood, particularly when set against his memories of his own father. These two parts of the film, Sathyadev’s romance with Hemanika and the development of his relationship with Eesha are sweet and gentle and really should be out of place in a rough and tough cop drama, but their inclusion is perfectly done, and adds so much to Sathyadev’s characterisation that instead they feel essential to the story development. These are my favourite scenes in the film and Ajith is perhaps surprisingly good at showing this more tender side. I’m more used to his manic killer persona in films like Vedalam but he does an excellent job with a more introspective character here and is good at displaying compassion in his developing relationship with Eesha. Just as good is his frustration and helplessness as he tries to change to a desk job for her sake and realises he just can’t continue as a police officer if he wants to keep Eesha safe.

Perhaps the only misstep in the film is the character of Thenmozhi . Although she starts off as a strong and independent character, once she meets Sathyadev she seems to lose all reason and self-respect, propositioning him despite overhearing what appeared to be an intimate conversation he had with someone else. As the film progresses she becomes more and more of a doormat and seems to lose all of her gumption as the threat to her life increases. Anushka does the best she can but her character is too much a victim to allow much sympathy for her plight.

Along with the mostly excellent characterisations, the more mass elements of the film are also well done. The fight choreography works well and there is a good mix of different styles – knife fights, good old fisticuffs and a number of gun battles. Stunt Selva has cameo as the gangster Matthew and Gautham Menon himself pops up as a police intelligence officer. The film looks stunning too, and the cinematography by Dan Macarthur (an Aussie – yay!) is excellent, particularly during the scenes with Eesha and Sathyadev travelling around India. Harris Jayaraj’s music works well too and is a perfect soundtrack for some of the most poignant moments in the film, such as Eesha showing Thenmozhi her mother’s picture and Sathyadev braiding Eesha’s hair before she goes to school. A word too about Anikha Surendran who is very good as Eesha and conveys many emotions throughout the film simply and easily and perfectly suits the role of Sathyadev’s adopted daughter.

Yennai Arindhaal shows just how good an action thriller can be when there is more to the story than just the action. The characterisations are excellent and provide motive and the reason for Sathyadev and Victor to act the way they do. There is so much happening in this film and yet it is still the story of a cop and a villain and a plan to illegally harvest organs. Well written, well acted and beautifully put together this is definitely one to savour. 4½ stars.