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While his films since Magadheera have become ambitious in terms of scale and narrative, SS Rajamouli is at heart a masala filmmaker and arguably, the best one we have in our country right now. You just have to look at how he gives every major character in Baahubali its own heroic introduction to realize how keenly he is attuned to the pulse of the audience and knows what button to push to make them cheer. We marvel at the hero's strength when he uproots a massive Shivalingam and carries it over to the waterfall; we are awestruck by the heroine's beauty and later, her bravery; we are thrilled when we see an aging warrior show his skill with the sword and terrified seeing the villain bring down a raging wild bull with his bare hands, and stirred by another lead's speech even as we are shocked by her appearance. These are terrific masala moments and Rajamouli shoots these scenes in rousing fashion and packs them in at regular intervals that we are constantly in thrall. Shivu (Prabhas) is brought up by tribals but he is forever fascinated by the huge waterfall in the forest and keeps trying to scale it to see what is out there. A wooden mask gives him the drive to do it and he meets its owner — Avanthika (Tamannaah), a warrior who belongs to a rebel group trying to rescue their queen Devasenai (Anushka), who has been chained by the kingdom's evil ruler Palvaalthevan (Rana Daggubati). Shivu offers to go on a rescue mission little realizing how deeply he is connected to the characters involved in this game of thrones. Baahubali's narrative is influenced by everything from the Mahabharata and other Indian folklore to Rajamouli's own Magadheera. The backstory, involving the titular character Baahubali, is in fact, very much in the Mahabharata territory. Cousins, one good at heart and another evil, who are competing for the throne, a statesman warrior who is noble but is tainted because he is loyal to the wrong side, a scheming father who wants the throne for his son at any cost, a royal child who is rescued from a river and so on. And by the time we reach the abrupt end, which sets up the sequel, we are reminded of Kochadaiiyaan, which also chose to stop its story midway following a crucial revelation. As for the visuals, Rajamouli takes his cues from varied sources —there are scenes that recall the grandeur of SS Vasan's Chandralekha (the installation of Palvaalthevan's statue), the sweeping battle scenes of Peter Jackson's The Lord Of The Rings (the battle with the Kalakeya army), the dreamscape scenery in James Cameron's Avatar (Shivu climbing over a waterfall), the gorgeous acrobatic movements of Zhang Yimou's Hero (the scenes involving Sivudu and Avanthika), and even a dash of James Bond (an escape from an avalanche). But Rajamouli superbly weaves these influences together and adds his own inventive touch to these scenes, so that they come across as ingenious. Even the romantic track, which some might feel perfunctory and unwarranted, is imaginatively done. And with his technical team (or, should we call it an army), the director gives us one of the fantastically mounted films from our country. The sheer scale of the film is breathtaking. Art director Sabu Cyril and cinematographer Senthil Kumar, along with the VFX team (despite being clearly visible in certain shots, the the visual effects efforts work is very good) seem to have worked extra hard to make every frame appear grand, while Maragathamani's rousing score heightens the drama on screen (though, the songs aren't as effective). The same cannot be said some of the actors who fall short in terms of performance. It is easier to buy Tamannaah as an angelic beauty than as a fiece warrior. Rana isn't menacing enough while Prabhas feels a bit lightweight, though we can appreciate the effort they have put into looking their parts. Thankfully, the seniors are very good — Sathyaraj as Kattappa and Ramya Krishnan as Sivagami, the caretaker queen, are the scenestealers while Nasser, who is seen with a shriveled arm, is his usual villainous self. And Madhan Karky finds the sweet spot for the dialogues where the Tamil doesn't sound out of place and at the same time, isn't too difficult to understand (as it happened with Selvaraghavan's Aayirathil Oruvan). There are a couple of missteps too. An item number that appears during the hunt for a traitor just yanks us out of the period and puts us in contemporary mass hero movie territoty. A pre-war scene where the two sides involve in a dialogue comes across as implausible given that the enemy army is portrayed as bloodthirsty barbarians who are only interested in pillaging the lands and raping the women of the country they are attacking. There are some shots (even close-ups) where we see the actors speaking their lines in Telugu, which is jarring. The film also doesn't feel tightly edited, probably because of the decision to split the story into two parts. Some of the scenes continue longer than needed and this is especially true of the climactic battle sequence, which goes for almost 25 minutes! Yes, it is incredibly staged and there is never a dull moment, but we do feel the length. And when the film reaches its sudden end, the experience is very similar to what we feel when we are watching a movie (or a match) on TV and the power goes off right before the climax. Still, the film is a remarkable achievement that proves that the Indian film industry is still capable of creating grand spectacles.
This review applies to the set of two films: The Beginning and The Conclusion. As narratives go, there is some great storytelling in this film. That is perhaps what makes this such an awesome film. The action and feats are wicked fun, of course, but they're not devoid of context as so many action films are. The story serves the action and vice versa. It's a fun movie all around.
Set during the early part of his reign, Ivan faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people. Sergei Eisenstein's final film, this is the first part of a three-part biopic of Tsar Ivan IV of Russia, which was never completed due to the producer's dissatisfaction with Eisenstein's attempts to use forbidden experimental filming techniques and excessive cost overruns. The second part was completed but not released for a decade after Eisenstein's death and a change of heart in the USSR government toward his work; the third part was only in its earliest stage of filming when shooting was stopped altogether.
The strong bond between two brothers is challenged when their chosen responsibilities set them at odds, with extraordinary consequences.
Inspired by the life of Captain Vikram Batra (PVC), the film celebrates his bravery, valiant spirit and honors his invaluable sacrifice during the Kargil War of 1999, at the age of 24.
In the wake of King Edward's death, Uhtred of Bebbanburg and his comrades adventure across a fractured kingdom in the hopes of uniting England at last.
In the carefree days before World War I, introverted Austrian author Jules strikes up a friendship with the exuberant Frenchman Jim and both men fall for the impulsive and beautiful Catherine.
A man named Farmer sets out to rescue his kidnapped wife and avenge the death of his son – two acts committed by the Krugs, a race of animal-warriors who are controlled by the evil Gallian.
In a countryside town bordering on a magical land, a young man makes a promise to his beloved that he'll retrieve a fallen star by venturing into the magical realm. His journey takes him into a world beyond his wildest dreams and reveals his true identity.
A Jewish ghetto in the east of Europe, 1944. By coincidence, Jakob Heym eavesdrops on a German radio broadcast announcing the Soviet Army is making slow by steady progress towards central Europe. In order to keep his companion in misfortune, Mischa, from risking his life for a few potatoes, he tells him what he heard and announces that he is in possession of a radio - in the ghetto a crime punishable by death. It doesn't take long for word of Jakob's secret to spread - suddenly, there is new hope and something to live for - and so Jakob finds himself in the uncomforting position of having to come up with more and more stories.
Magdalena and Michael have loved each other since they were children. But when the Nazis come to power, Michael rebels against the regime and is sentenced to fifteen years in a concentration camp. Magdalena, meanwhile, goes underground with the help of a friend and later immigrates to the Soviet Union. Michael, who has joined the Red Army, discovers on the way to Moscow that Magdalena is staying there. But when his plane lands, she is already on her way back to Germany. Michael hopes that one day, he and Magdalena will be reunited.
Two 17-year-olds, Werner Holt and Gilbert Wolzow, are pulled out of school and into Hitler's army. Gilbert becomes a fanatical soldier; but at the front, Werner begins to understand the senselessness of war.
A ship sent to investigate a wave of mysterious sinkings encounters the advanced submarine, the Nautilus, commanded by Captain Nemo.