One of the many effects Hollywood has had on the world has been the oft misused instance of the word ‘inspired’. Almost every other flick, particularly from a craze-maze hotch-potch called (in somewhat un-Shakespearean way) Bollywood, is being quoted as being a remake of a product from that mountain city in the United States. And sadly, so wrapped are we with Bollywood that we rarely pay attention to the magic being woven in regional cinema. True – not all of us Indians are blessed with either the resources or the time to sit through those select few that filter past the much revered National Awards or the more drooled after yet eternally scoffed at Academy Awards. But nevertheless there is no denying that there is some serious work being done in our regional territories to up the standards of traditional cinema making over the last decade.
One among them – with all due respect to my home ground Karnataka where cinema has somehow lost its way in a bizarre forest infected with cannibalistic mediocrity – is the South Indian cinema scene. It is no secret that Bangalore possibly has more Tamil and Telugu cinema goers than Kannada cine-aficionados. And yes – there is no denying that the kind of stories written in Tamil, Telugu and Malayalam have forever been rich sources from where our hapless Kannada film makers have continued to pour themselves generous buckets of words from. Hence, being a fellow who enjoys good, entertaining cinema regardless of language, I have indulged in non-Hindi, non-English, non-Kannada cinema several times too. I have seen movies in International tongues like Spanish, Polish, Hungarian, German et al and regional ones like Tamil, Marathi, Bengali to name a few. The one language I somehow never managed to see many movies in has been Telugu. The only two movies I can recall, not including Magadheera, are Shankarabharanam and Bommarillu.
And so – to increment my Telugu movie counter, I decided to take a gamble on the 2009 release of mega-star Chiranjeevi’s son Ram Charan Teja’s flick – Magadheera. I had heard rave reviews about how brilliant this movie was last year and so it was only apt that I leapt at the first Blue-Ray version that came my way.
First things first – Magadheera isn’t a brilliant movie. It is an AWESOME movie. And no – not for the storyline which is as old as the gorgeous yet fake hills that stand majestically in the backdrop of its sequences. Magadheera is a benchmark in Indian cinema purely because it shows the other film makers what exactly ‘inspired from’ means. It is a slap on the faces of those beer bellied producers whose only homework would have been to pour some scotch and come up with the magical equation…
Known hero + Hot girl + Rain dance + Love story + Family sentiment + Needless songs + Cliché fights + Cheesy dialogues + Mandatory rape attempt + Revenge saga + x = SCRIPT
The ‘x’ is usually the variables that go into making another hackneyed desi version of what was probably a decent original in Hollywood or elsewhere. What Magadheera does successfully is convert what could easily have been another run-of-the-mill love story into an epic. And how? By converting what could be termed ‘copy’ into the right meaning of the word ‘inspiration’.
The story of Magadheera is that of rebirth. Yes – as I mentioned there is nothing new in this bottle of tales. And hence, the story unfolds in two separate time periods – 1600 and now. Needless to say, if you have seen the publicity material for the movie, you’d have guessed that the warrior look for the hero is from the former period. So in this dish of recurring love, recurring enmity, recurring friendship and reappearing memories, we have a pretty straight forward story to narrate. But there – right there – is the difference as clear as that of an apple and an orange. I can safely say I have never seen such a flawless execution of visual effects and 3D imagery in Indian cinema before. It has artwork that can be easily put in the same column as visual masterpieces like '300' and 'Lord of the Rings'! The breathtakingly gorgeous ravines and valleys, the giant statue of Lord Shiva on Mount Bhairava, the shots of Udaigarh and the royal palace interiors and game ground, the white sand deserts that lay for hundreds of miles on the outskirts of the city - every detail simply oozes with master strokes. It is clear that the director, S.S.Rajamouli, not only understands international cinema but also knows how to translate it to fit our local needs.
Some brilliant scenes come to mind –
- The opening credits where paintings are used to capture the mood of the movie.
- The opening scene which starts by the depiction of the last few moments of what appears to have been a gruesome battle.
- The way our hero, in his former life as a royal guard, kills exactly 100 men from barbarian King Sher Khan’s shaitaan ki fauj on Mount Bhairava. Very reminiscent of '300' where murder was more an art form rather than a violent act of crime. Spectacularly shot.
- The scenes depicting the royal palace in Udaigarh and its exotic interiors.
- The scene on Mount Bhairava with a jaw dropping view of the Aravali mountains in the backdrop. Phew – the list goes on.
Having written enough reviews highlighting the story, music, performances, action and direction, I thought it was time to talk about a movie that works so well just for its sheer presentation quality, that even if at times the other departments feel a tad jaded, there isn’t much harm done. Here’s a grand round of applause to the technical team of Magadheera for finally cutting the BS between mundane ‘copy paste’ and true inspired work.
Well done folks! Hopefully now we will see some serious attention given to the word ‘inspiration’ in our Indian cinematic circles before being bandied about recklessly.
One among them – with all due respect to my home ground Karnataka where cinema has somehow lost its way in a bizarre forest infected with cannibalistic mediocrity – is the South Indian cinema scene. It is no secret that Bangalore possibly has more Tamil and Telugu cinema goers than Kannada cine-aficionados. And yes – there is no denying that the kind of stories written in Tamil, Telugu and Malayalam have forever been rich sources from where our hapless Kannada film makers have continued to pour themselves generous buckets of words from. Hence, being a fellow who enjoys good, entertaining cinema regardless of language, I have indulged in non-Hindi, non-English, non-Kannada cinema several times too. I have seen movies in International tongues like Spanish, Polish, Hungarian, German et al and regional ones like Tamil, Marathi, Bengali to name a few. The one language I somehow never managed to see many movies in has been Telugu. The only two movies I can recall, not including Magadheera, are Shankarabharanam and Bommarillu.
And so – to increment my Telugu movie counter, I decided to take a gamble on the 2009 release of mega-star Chiranjeevi’s son Ram Charan Teja’s flick – Magadheera. I had heard rave reviews about how brilliant this movie was last year and so it was only apt that I leapt at the first Blue-Ray version that came my way.
First things first – Magadheera isn’t a brilliant movie. It is an AWESOME movie. And no – not for the storyline which is as old as the gorgeous yet fake hills that stand majestically in the backdrop of its sequences. Magadheera is a benchmark in Indian cinema purely because it shows the other film makers what exactly ‘inspired from’ means. It is a slap on the faces of those beer bellied producers whose only homework would have been to pour some scotch and come up with the magical equation…
Known hero + Hot girl + Rain dance + Love story + Family sentiment + Needless songs + Cliché fights + Cheesy dialogues + Mandatory rape attempt + Revenge saga + x = SCRIPT
The ‘x’ is usually the variables that go into making another hackneyed desi version of what was probably a decent original in Hollywood or elsewhere. What Magadheera does successfully is convert what could easily have been another run-of-the-mill love story into an epic. And how? By converting what could be termed ‘copy’ into the right meaning of the word ‘inspiration’.
The story of Magadheera is that of rebirth. Yes – as I mentioned there is nothing new in this bottle of tales. And hence, the story unfolds in two separate time periods – 1600 and now. Needless to say, if you have seen the publicity material for the movie, you’d have guessed that the warrior look for the hero is from the former period. So in this dish of recurring love, recurring enmity, recurring friendship and reappearing memories, we have a pretty straight forward story to narrate. But there – right there – is the difference as clear as that of an apple and an orange. I can safely say I have never seen such a flawless execution of visual effects and 3D imagery in Indian cinema before. It has artwork that can be easily put in the same column as visual masterpieces like '300' and 'Lord of the Rings'! The breathtakingly gorgeous ravines and valleys, the giant statue of Lord Shiva on Mount Bhairava, the shots of Udaigarh and the royal palace interiors and game ground, the white sand deserts that lay for hundreds of miles on the outskirts of the city - every detail simply oozes with master strokes. It is clear that the director, S.S.Rajamouli, not only understands international cinema but also knows how to translate it to fit our local needs.
Some brilliant scenes come to mind –
- The opening credits where paintings are used to capture the mood of the movie.
- The opening scene which starts by the depiction of the last few moments of what appears to have been a gruesome battle.
- The way our hero, in his former life as a royal guard, kills exactly 100 men from barbarian King Sher Khan’s shaitaan ki fauj on Mount Bhairava. Very reminiscent of '300' where murder was more an art form rather than a violent act of crime. Spectacularly shot.
- The scenes depicting the royal palace in Udaigarh and its exotic interiors.
- The scene on Mount Bhairava with a jaw dropping view of the Aravali mountains in the backdrop. Phew – the list goes on.
Having written enough reviews highlighting the story, music, performances, action and direction, I thought it was time to talk about a movie that works so well just for its sheer presentation quality, that even if at times the other departments feel a tad jaded, there isn’t much harm done. Here’s a grand round of applause to the technical team of Magadheera for finally cutting the BS between mundane ‘copy paste’ and true inspired work.
Well done folks! Hopefully now we will see some serious attention given to the word ‘inspiration’ in our Indian cinematic circles before being bandied about recklessly.
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