Rudhramadevi (2015)


If Rudhramadevi had been made in 1956 I’d have loved it, no question. But Gunasekhar struggles to realise his grand vision and the ripping story drags at times. The main cast give their all, but they can’t compensate for some poor directorial decisions and sloppy execution.

The first thing that hit me was the VFX. I thought it was maybe a deliberate stylistic choice as there are animated montages that look like a childs picture book. But it is just shonky quality, used too liberally, and with poor judgement. At least it distracted me from wondering what Marco Polo’s stuck on beard was made of. And why Marco Polo was in the film.

The story is so interesting this should have almost written itself. A girl is raised as a boy and keeps up the pretence to protect her kingdom for as long as she can. But Gunasekhar spends far too much time with the various enemies and uses loads of clunky “As you know Bob” exposition. I felt that there were some holes in the film and Gunasekhar was trying to paper over those gaps with other techniques including a Mega voiceover and a peasant who announced every new character with bio as well as voicing the people’s dissatisfaction with their rulers.

Anushka owns every frame she is in. She adjusts her posture and facial muscles so there is a clear distinction between Rudradeva and Rudhramadevi and is convincingly commanding. She has some weird darkening makeup on as a boy, but it does allow her to look stunningly radiant when she girls up.

Her closest female friends are Nithya Menen as her wife Muktamba and Catherine Tresa as The Other One Who doesn’t Wear Much, and there is a lightness and ease in the way Anushka moves as she drops the pretence and heavy armour undershirt to dance in the “Yay! I’m a girl” numbers. She did her damnedest in the tandav but while her expressions told a powerful story, her dancing was not as compelling. Rudhramadevi used Veerabhadra’s feelings for her to get him back on task, but she evinced far more concern about Muktamba’s reaction and wellbeing. That ruthlessness and emotional intelligence wasn’t really explored and I felt the film needed to reveal how she ruled, not just show a sequence of events.


I put that clip in just for some shirtless Rana. He looks so chuffed when he is prancing almost in time.

Rudramadevi-Rana Anushka

I knew a “Zorro” moment was nigh when Rudradeva wore a blue tunic done up with pink princess ribbons, and the gender reveal is a bit ho-hum. Veerabhadra took the whole “Dude, you’re not a dude” revelation quite well, all things considered. There is little sexual chemistry between Rudhramadevi and Veerabhadra, but the actors have a nice rapport, like childhood friends. I enjoyed moments like when Rana playfully tweaked Anushka’s nose as he said goodbye. While the writing skimmed the surface of characters emotional lives, the actors added their own flavour.

Gona Ganna Reddy (Bunny) and his horse seem to have ridden in from a different film; something more gothic perhaps or even a KPop music video (Jaejoong’s stylist may be moonlighting as a Telugu horse costume designer).  Bunny plays his character as unrelentingly dour and with one facial expression, but his one liners got the audience cheering. And he rarely blinks. It’s intense and unsettling after a while.

Rudrama Devi Posters

The support cast is huge. Hari Hara Devudu (Suman) and Murari Devudu (Aditya) are the Statler and Waldorf of villains. They sit back and critique everyone else but rarely do anything themselves, unless you count letting their allies die horrible deaths. Their brother Naga Devudu (Baba Sehgal) shows commendable willingness to really go for the snake theme. Nithya Menen is underutilized as Muktamba. I enjoyed her scenes with Anushka and thought her decision to respect the sacrifice and say nothing was interesting. This contrasted with the shouty peasants who just flat out refused to accept a woman, despite a rousing Prakash Raj girl power speech. Prakash Raj is in good form as Shiva Devaiah, the mastermind of the scheme that sees Rudhramadevi raised as the boy Rudradeva. Villain Mahadeva (Vikramjeet Virk) spends most of the film prancing atop a phallic tower made of polystyrene. Amusing, but you know a great hero or heroine deserves a genuinely scary bad guy and he is not the real deal no matter how many people he kills out of spite. Hamsa Nandini is slinky and duplicitous, the Bond girl of courtly spies.

Gunasekhar’s massed set pieces lack richness. If you arrange a formation of extras with one or two carefully out of position people for randomness, but then use that same formation scores of times over it ends up looking ridiculous with the pattern repetition of those supposedly random bodies. A critical battle scene started with a cool idea – one army emerging in a serpent formation as their opponents attacked in an eagle formation. But it went on forever and looked far too fake. I was reminded of the similar but excellent lotus and arrow scene in Magadheera.

One of the few actors I could imagine would happily rappel down a structure (possibly without even checking there was a rope), Bunny was plagued with dodgy wire work. Anushka was also caught so that her feet didn’t quite hit the ground or was frozen in awkward and unconvincing poses in midair. Maybe it was supposed to look good in 3D but I can’t imagine it would. And too many fight scenes and chases were sped up to slapstick comedy pace.

There is abundant weird CGI, possibly a workaround for the 3D version, although I should have remembered the effects in Okkadu. For example, when a drawbridge is being lowered they faked the cogs and ropes too which you’d think would be doable and cheaper for real. The climax scene as Rudhramadevi and elephant bring doom upon her enemies should be thrilling but it is just opportunity to crank up the bad CGI. The use of CGI elephants seemed unnecessarily frequent especially when in many scenes there was no obvious risk of physical harm to an animal – why not use a real one? And there seemed to be a bit of tusk whitening done in post production that was distractingly odd.

A big shoutout to the helmet and armour department. No design was too silly or impractical for them to try. I really wish I could find a picture of Bunny’s Glomesh helmet from the final battle, but you will just have to make do with Rana’s special dressing up armour.

Despite the negatives I really appreciate seeing Anushka as the lead with so much screen time in an awesome story. Bunny and Rana bring more interest to their characters than the screenplay demands. I would have liked to see more relationship development generally, and especially between the ladies given the story is of a woman pretending to be a man. I really wish the film had been better executed as I can see what it might have been, and the gap between what was delivered and that potential is frustrating.




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.


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.


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!

Arrambam (2013)

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Arrambam is yet another Southern Indian film to use Mumbai as its backdrop, but really this action thriller could be set anywhere and still have the same impact.  Although there are a few Mumbai landmarks seen, the story is less about the location and more about the motivations behind the lead character’s quest for revenge, so despite Om Prakash’s excellent cinematography the background just isn’t important.  The action takes off immediately from the opening frames and there’s no time to take a breather until well into the second half. It’s fast, furious and best of all lots of fun as Ajith and Arya take on corruption in politics, the police force and basically just about everywhere!  There’s an excellent extended guest appearance from Rana Daggubati and even Nayanthara gets a chance to get in on the action and show off her ruthless side.  On the minus side, the songs aren’t too inspiring and there are a few gaping plot holes, but there is enough going on to make Arrambam an entertaining mass masala flick despite the lack of logic.

ArrambamArrambamArrambamArrambamThe film opens with a series of bomb blasts in Mumbai, and Police Inspector Prakash (Kishore) is charged with tracking down this latest terrorist.  The man they are looking for is Ashok Kumar (Ajith), who has an unusual recruitment scheme to enlist the help of computer expert Arjun (Arya).  Also involved in Ashok’s master plan are his sidekicks Maya (Nayanthara) and Mango (Krishna) who assist Ashok with kidnapping Arjun and forcing him to hack into a number of computer networks.


Despite this rather inauspicious beginning, Arya’s character actually adds some light relief to the film, starting with a flashback sequence to explain why Ashok targeted him in the first place.  This features Arya heavily made up and wearing a fat suit as a stereotypical computer nerd at college.  Even with his daunting appearance and apparent flatulence, Arjun is still pretty popular due to his ability to hack into the college computer system and change grades as required for the other students. However when he encounters Anita (Taapsee Pannu) and decides that she is his soul mate, he’s inspired to exercise and loose the flab. 

During a rather disconcerting song where a now trim and fit Arjun sprouts blue wings for no apparent reason, he manages to woo the girl and ends up heading to Mumbai for a job interview.  One which doesn’t turn out anything like the way he expected.  Arya still keeps the nerd mentality even though he’s updated his fitness levels and appears suitably geeky throughout while also managing to keep up with the action.  It’s helped by his choice of T-shirts, but he gets the attitude right and his lack of awareness of the world around him is absolutely classic. Taapsee is ditzy and rather shrill as his reporter girlfriend but thankfully she’s not on screen often enough to be too annoying. 


While Ashok keeps telling his various victims to ‘keep it simple’, he himself makes things incredibly complicated by kidnapping Arjun and using threats against Anita to force Arjun’s compliance.  The first half keeps the thrills coming as Arjun attempts to escape and inform Inspector Prakash about Ashok and his criminal activities while trying not to endanger his girlfriend.

But of course that’s only part of the story and the second half involves a long flashback where Ashok’s motives are explained and suddenly the tables are turned.  The fast pace of the first half isn’t maintained and the film slows down considerably in the second, but there are still some good action sequences including a shoot-out sequence with Ashok’s old partner Sanjay (Rana Daggubati) and a high speed boat chase in Dubai.


Ajith is in his element here and writer/director Vishnu Vardhan has kept Ashok’s character deliberately ambivalent while making sure he has plenty of charisma and charm.  Ashok punctuates the end of his sentences by putting on his sunnies (which at least lets you know the conversation is over), and he is always über cool and classy despite his terrorist activities.  The relationship between Ajith and Arya also works well although the sequences with Rana and Ajith stand out as some of the best in the film.  The camaraderie between the two actors feels very genuine and it’s easy to believe that they are long term friends and partners with their teasing banter and rapport during police operations. 

ArrambamArrambamWhile Taapsee really is the drama queen the corrupt Home Minister Rane (Mahesh Manjrekar) describes, many of the other female roles have a strong presence.  Nayanthara gets to threaten, bluster and fight in many of her scenes and does an excellent job, keeping her fight sequences realistic and looking suitably athletic to carry it all off, while Suman Ranganathan is also very good in her small role.  I’m always happy to see Atul Kulkarni pop up although his role as the chief of police doesn’t really give him much scope here, and the rest of the supporting cast are equally kept mainly in the background.  Although I like Yuvan Shankar Raja’s soundtrack, the songs don’t work well in the film mainly because they disrupt the flow of the story. The item song featuring Akshara Gowda is particularly painful and seems completely pointless since it really doesn’t suit her character of the home minister’s daughter at all.  I don’t think that such a fast paced action thriller needs any songs other than the background score but at least the Holi song had more energy and made a little more sense in the context of the story.

Overall, I really enjoyed Arrambam.  It’s fast paced, slick and stylish with plenty of action and I loved that one of the female characters was involved in the mayhem too. You go girl! The excitement and tension of the first half isn’t sustained through the second, but with Rana added in to the mix the action is still full on. Worth watching for Ajith and Arya as long as you can ignore the lack of logic and just sit back and enjoy the ride!

Ajith boat