In these Trumpian times of bizarreness and unpredictability that cloak everything—from diplomacy to trade engagements—the only constant is surreal entertainment.

Be it the mocku-drama feel of the live telecasts aired from the White House or the off-the-cuff repartees by public personalities hurriedly tagged as ‘informed’ statements, we are treated to a host of ludicrous political spectacles, both national and international, week in and week out.

This week, however, it is India that is exporting and dishing out pure entertainment in its “epic” and spectacularly desi form to everyone around the globe—no tariffs, no taxes.

The Return of a Cinematic Spectacle

SS Rajamouli’s Baahubali: The Epic (BTE) released on October 31 and is currently screening in over 1,000 theatres outside India—a mammoth number for a re-release.

The USA tops the list with over 400 screens, the United Kingdom with 210, and the rest are spread across Australia, New Zealand, and the Gulf.

Rana Daggubati in a still from Baahubali: The Epic

For the uninitiated, the makers of Baahubali: The Beginning (2015) and Baahubali: The Conclusion (2017) have integrated the two blockbusters into a re-mastered and re-edited single version, upping the technical, cinematic, and sound quotient to align it with current premium formats like IMAX and others.

For the minuscule minority, like this writer, who may have been Rip Van Winkling their way through the past decade, merrily oblivious of the parallel world of Baahubali and Kattappa, this re-release could probably be that grand, all-encompassing feast worth diving into.

A Re-Release Competing Like a New Release

If you thought all this brouhaha over re-releasing parts one and two by integrating them into a single, seemingly seamless offering was just pure business sense, you are right—it’s just that, and probably something more.

At the last count, BTE was going great guns at the box office ticket window, already on its way to a likely double-digit net collection in India.

It has slam-dunked both the new Hindi Diwali releases, Thamma and Ek Deewane Ki Deewaniyat (both running in their 11th day), and is helping itself to some neat numbers on its first day of release in the Hindi and Telugu versions.

For many cinegoers then, the real Diwali week has just started now with Prabhas, Rana Daggubati, Ramya Krishnan, Tamannaah Bhatia, Anushka Shetty, and Sathyaraj and team, minus the mandatory fireworks.

The big nudge for the makers of the Baahubali series was to serve the single version to the demographic group between 15–25, from whom they have elicited the most interest and curiosity for this release on social media. This is, of course, apart from the legions of die-hard fans of the in-every-sense historic Baahubali franchise.

Prabhas in a still from Baahubali: The Epic

A Feast of Nostalgia and Scale

In IMAX, there is a certain oomph that is imparted to Rajamouli’s film that one cannot really describe in words; it is a purely sensory experience, with opulent visuals, an awesome background score, and earthy characters that populate this magnum opus.

As the narrative progresses, the sweeping chorus and lyrics that accompany most of the often mind-blowing visuals elevate the film to a different stratosphere.

But, pray, how do you sit through a film that is nearly four hours long?

Just sit it out, as if the dangling chains that kept the ethereal Princess Devasena shackled in the film for over 25 years are now binding you, but of your own free will. It would be sacrilege to even begin to narrate the storyline as its every pulse, breath, and pause is ever familiar to almost everyone. But let me try.

Set in a mythical ancient kingdom, whose heir is a local, playful young man (Shivudu) who belatedly learns that he is the son of a king, Amarendra Baahubali, betrayed by his very own. Upon learning that his real mother, Devasena, has been a prisoner of the wily Bhallaladeva, he returns as Mahendra Baahubali to reclaim his kingdom of Mahishmati and avenge his enemy.

The plotline may be simple, but it’s the principal characters that accompany Prabhas (Shivudu/Amarendra/Mahendra Baahubali) and Rana Daggubati (Bhallaladeva)—like Ramya Krishnan (Sivagami), Anushka Shetty (Devasena), Sathyaraj (Kattappa), and Nassar (Bijjaladeva)—who bring the gravitas and depth to both the story and the performances across the board.

They eventually flesh out the purpose and mission that lead both the lead stars to respond the way they do.

Except for fan clubs of Tamannaah Bhatia, whose screen time has been considerably shortened, fans of the other stars are already having a field day—both in theatres and on social media—with the more than adequate presence of their favourites in this all-in-one version.

Nassar in a still from Baahubali: The Epic

Exceptionally brilliant turns by Ramya, Sathyaraj, and Nassar, a crisp screenplay, and tight editing keep viewers immersed throughout the lengthy narrative. While Prabhas, Anushka, and Daggubati may sweep the crowds off their feet with their screen presence and magnetic charm, it’s the aforementioned three who push the proceedings and make us want to invest ourselves wholly in Rajamouli’s breathtaking universe.

Simon Abrams, reviewing Baahubali: The Conclusion in 2017 for RogerEbert.com, signed off his thoughts by saying that it was “grandiose and fun, and I pray there’s a lot more where it came from.”

It was as if the Indian film industry took this to heart and wantonly exploited the Rajamouli/Baahubali template—many with disastrous results, the traumatic effects of which many movie lovers are still reeling from. Even with the leap in CGI and VFX tech, seemingly none could come close to what Rajamouli gave us a decade ago.

For those lazybones who are comfortably numb at home with the Baahubali duology playing on repeat on OTT, just press stop and make a beeline to a theatre near you and immerse yourselves in this epic.

As you do that, thank your kind, filmy stars that in that bygone era of Baahubali and the Kalakeyas, there existed no sign of any Regent or a Cavalier Trump who would aim arrows from his harmonious quiver, uninvited, into the kingdom of Mahishmati to rustle up a hurried peace between Mahendra Baahubali and Bhallaladeva.

(The writer is based in New Delhi and writes on films, entertainment and contemporary issues.This is an opinion piece and the views expressed above are the author’s own. The Quint neither endorses nor is responsible for the same.)

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