Sequence: After a brief battle, succeeding Bhadra’s beheading by Shiva, Kattappa, who has pledged his life to protect the Royals of Maahishmati, calls upon a weapon to kill the unidentified intruder, who has fled with the prisoner, Devasena, and killed Bhallaladeva’s only son. Right after the lance lands in his grip, Shiva turns around for another round of combat against Kattappa. The rain washes off the grime on his face to reveal the countenance of the Late Amarendra Baahubali, as Kattappa rushes towards him for another attack.
Amarendra’s face upon the stranger’s body, sets in him the realisation that their long-lost King, and Devasena’s baby, who had, till now, been believed to be dead has returned. Devasena’s watches her wait materialising into reality as Kattappa drops his weapon, and proclaims Shiva to be Baahubali, kneeling before him in reverence. Her child’s foster mother, Sanga watches in astonishment, as does Shiva’s lover, Avanthika. Hearing Kattappa’s proclamation of Baahubali, the entire crowd bows before the Ruler of Maahishmati who has returned as their saviour.
This particular sequence, again, is not without drama, which as I have reiterated time and again, is almost inseparable from a movie as thespian as Baahubali. However, noteworthy non-script features work in beautiful sync with the dramatic elements and bring forth this yet another marvel of a sequence.
1. The setting and the lighting
Rain, thunder, and a grim, almost dark background. This is one of the very few sequences in both the Baahubali movies that doesn’t have a brilliantly-lit backdrop. There are no bright reds, no blazing golds, no royal hues, but a simple, earthy backdrop with a tumultuous natural situation. For one, the earthy tones accentuate the fact the Junior Baahubali is the strongest when working in situ with nature. For another, the largely violent nature, gives the unfolding of events and the consequent revelations a pronounced effect, thus taking the script forward.
2. The Background Music, Sound sequence and Camera Angles
Composer M.M. Keervani, and Cinematographer K.K. Senthil Kumar take care to synchronise their music and camera respectively, as higher tones of the background music emphasise the camera to focus on the ladies in Shiva’s life. Avanthika, Devasena, and Sanga are all the secondary focal points in this sequence, as their child, and lover comes at a turning point in his life, when he is heralded by all and sundry as their saviour, and protector of the realm.
3. The Co-ordinated Choreography
Or, shall we say, stunt coordination.
Needless to say, this sequence involves a fair amount of impeccably-timed, precise coordination. Stunt coordinator Peter Hein (who has also worked with the same director before in Magadheera), times his high-points perfectly as the lance flies into Kattappa’s hands as he breaks into a run. Likewise, Senthil Kumar, with all his expertise, takes special note of the timing of the scene where he lets go of the weapon. Another noteworthy factor here is, this particular sequence also times its slow-motion sequences aptly so as not to let them border on being a drag.
Finally, with Kattapa’s submission as he runs down to a humble kneel, comes at a time, when Shiva has made a complete turn to face his potential opponent. This, in turn, is also a time when all cinematographic, and audio effects come together to highlight this crescendo as Mahendra Baahubali is revealed for the world to see.
