Bahubali Grandeur of Our Glory

Bahubali Grandeur of Our Glory

Gone are the days when Indian films used to be regarded as synonymyn with cheap, low-quality special effects, slack story line, wobbly acting, etc, as Bahubali 2 is the most computer-graphics-intensive movie with gripping story and spell-bound acting. The gargantuan success of the film can be attributed to the fact that people in the country are appreciating the rich ethos of the land. Its grand success is being interpreted as the ascendance of Indian movie industry on the global arena. No surprise, the movie has raked in huge moolah–so far, Rs 1000 crore and still counting.  In fact, India needs something of this stature from its own cultural history and Bahubali could well pave the way for a take-off, if crafted sharply enough. The scale and the spread was missing so far, something that Hollywood has mastered with a plethora of films.  Against this backdrop, it cannot be gainsaid that Bahubali celebrates Hindu traditions and way of life and will boost Hindu pride. Not that the Hindu character wasn’t evident in Bahubali – The Beginning. The portrayal of the younger Prabhas as Sivudu carrying the massive Shiva linga on his shoulder to install under the waterfall for jal abhisekham  is conceivably the most striking image of the first part that is etched in one’s memory. It underlines the image of a religion that is both grand and majestic. If Ganesha is evidently the presiding deity at the kingdom of Mahishmati, Devasena’s kingdom prays to Lord Krishna. There is even a sequence involving bull-taming by Amarendra Baahubali, with the hero riding on two bulls, perhaps inspired by Jallikattu and Kambala. In a nutshell, it is traditional Indian culture that is setting the silver screen ablaze, aided with the best VFX.

Here it is worth mentioning that the brigade of pseudo-secular is frustrated over the fact that this movie doesn’t demonise India’s original Hindu identity, traditions & culture or since it doesn’t make fun of Hindu god-goddesses. On the contrary, the movie glorifies them, as Bahubali depicts the splendid and glorious past of the Indian state and society. They also term the movie a Hindu movie, as it does not have a non-Hindu actor in the lead role. It is an irony that they want to differentiate between Hindu way of movies and Muslim way of movies. Why can’t they differentiate between good and bad movies? A movie made on a budget of 430 crore (both parts) for almost five years with a huge cast and crew, which is winning laurels across the world, all this brigade is worried about is religious preferences of the director. Why so much of animosity on Hindus? It is said what can be dreamt of can be achieved. And SS Rajamauli has proved this. This film presents us with a model system and also tells us that this kind of model system existed earlier too. It instills the confidence in people that they can also do something like this.  Born among the common masses, the hero puts the rule of Dharma in front and strives for the truth to prevail upon. Every society strives to find a hero for itself, but a society like India, which has a 5000 years of civilisational history, would always like to know who were its leaders in different eras and who would be its leader in the present era. Bahubali can be ascertained as the best example of the scale, speed and skill, something our Prime Minister Narendra Modi always talks of.  Film’s scale is imposing and the message is vast and clear. It presents us with a system on how to run a state and society in a very lucid manner. It is apt to say if Satyajit Ray’s cinema represents the Nehru era, Bahubali represents Modi’s era, which encapsulates the idea of valor and glorious and strong India. This film gives representation to all the general and popular ideas hidden in the subconscious of the masses.

 

Deepak Kumar Rath

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