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Thread: A Review On Baahubali - The Beginning Movie

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    I am have these two films in my Fire 8 tablet and I'm never bored with watching these films.

    In my opinion, they surpass Jodarr Arbar atleast 300%!
    What a perfect inspirational movies!

    These two films kept knocking my socks off! No matter where I am! I could be anything...but I'm hooked, exquisitely captivated to each scenes and luster of India past...wow! WOW!!!, "WOW!!!!" what a movie.
    Check this one out...You will understand...wow I'm impressed so very much about everything in this movie.

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    maine yeah movie pori tu nh dekhi hai but maine kuch watch ke hai yeah ek bht hi achi movie hai or es ke story bhe achi hai yeahi waja hai ke india main es ne record business kia hai or kam time main es ne bht zida business kia hai es ke waja yahi hai ke es ke story achi hai or bari bat yeah hai ke ap log family ke sath main beth kr movie dekh sakte hain agar ap ne nh bhe watch ke hai tu ek bar zaro es movie ko dekhen es ke 2 part hai first part bhe acha or or second part bhe es ka acha hai or dono part ne hi record business kia hai or jin logo ne yeah movie watch nh ke ek dafa zaror watch kren

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    A Review On Baahubali - The Beginning Movie

    A Review On Baahubali - The Beginning Movie




    To cut a long story short, this “magnum opus” is a CGI laden attempt to blend the good old folk lore format into a kitschy hero-worshipping Tollywood potboiler. A romantic sequence in which Sivudu woos Avanthika (Tamannaah) emphatically proves why. A brief background about Avanthika first: a feared warrior from the fiefdom of Kuntala, she’s dedicated her life to the cause of rescuing Devasena (Anushka), the wife of Amarendra Bahubali and mother of Sivudu, from the clutches of the vicious Bhallaladeva, the backbiting first cousin of Bahubali who usurps the throne. Cut to the scene. “Nuvvu oka aada pillavi. Nenu oka mogadini. Nenu aa neeti konda ni ekki vachcha nini premisthuna ani cheppadaniki," (You are a girl, I'm a man, who has climbed up this mountain, to say I love you), quips Prabhas, even as Avanthika has her sword pointed at his heart. For the next couple of minutes, a fight ensues during the course of which he skillfully disrobes her right down to her (very fashionable) red inner wear, and leaves a splattering of his blood on her forehead. seeing her own reflection in a sheath of water cascading from a cliff, Tamannah realises that he is her man and jumps to embrace him. Then they make love over a song.
    It turns out Sivudu is the son of the very Devasena that Avanthika — never mind the flip flop in her character sketch — has avowed to die trying to rescue. From then on, Prabhas takes over as he sets out fulfil his destiny of avenging his father’s death.
    The whole of first half seems like a little over an hour-and-a-half-long prelude for the flashback episode that goes back 50 years in time. Infants, Bhallaladeva and Bahubali are both heirs to the throne of Mahishmathi, when the then king dies an untimely death. The queen Sivagami (Ramya Krishnan) ascends to the throne and decrees that the worthier of the two cousins will be crowned king. Bhallaladeva, being the son of the younger brother (Nasser) of the deceased king, who was denied the throne owing to serious character flaws, inherits his father’s desire to become the emperor.
    The best part of the film is the elaborate war sequence that plays out in the second half. The ostentatious sets, breathtaking montage shots of the fictional kingdom, and the sheer scale of the battle scene stand out. The inspiration from Hollywood epics like 300, Troy, Lord of the Rings, Conan the Barbarian, Pirates of the Caribbean, Croods, Prince of Persia (to name a few) are all too evident in the battle sequences. Yet, it is still a first for Tollywood and perhaps even Indian cinema, even though the end result may be a little too underwhelming. Let’s just say how much the CGI will move you will depend on how much you empathise with the fact that a filmmaker has attempted it. In any case Rajamouli isn’t known as much for originality as he is for delivering an overwhelming cinematic experience.
    But we’re afraid there’s plenty that has gone wrong on that score too. There’s got to be something wrong when the highest point in what is Telugu cinema’s greatest war sequence is a minute-long monologue delivered by Prabhas, who sounds a little too shrill for his rippling muscles. Rana’s decibel levels might have overshadowed Prabhas’, to sum up the performances which are a little too high on theatrics and low on chutzpah. The music by Keeravani is the biggest dampener of them all. The most redeeming part of the film must be the bare body shots of Rana and Prabhas. The fans and the ladies must dig it.

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