Tuesday, October 10, 2023

Exploring reoccurring themes, character traits, and clichés in SS Rajamouli's films: A Beginner's Guide

 SS Rajamouli as of now remains as a relentless power in India's true to life scene. This can be attributed not exclusively to his ability yet in addition to the particular subjects, character qualities, circumstances, and platitudes that he integrates into his story.

With a line of sequential blockbusters, a significant number of which have turned into probably the greatest stirs things up around town has at any point seen, Telugu chief SS Rajamouli presently remains as a relentless power in India's realistic scene. What separates Rajamouli's movies is essentially their bombastic scope. With rich draws and going past ordinary lines as far as creation, Rajamouli's motion pictures are valid visual spectacles. In spite of the fact that Rajamouli, who turns 50 on Tuesday (October 10), can't be viewed as a narrating virtuoso, his dominance of the visual viewpoints compensates for it.

His first executive Understudy No: 1 (2001), highlighting NTR Jr ahead of the pack job, itself exemplified this ability. The film starts by showing NTR Jr rushing to get a moving transport while a sculpture of his granddad, the previous Boss Clergyman of Andhra Pradesh Nandamuri Taraka Rama Rao (alluded to as NTR), who was likewise an unbelievable Telugu hotshot, remains by the side of the road. While the shot is painstakingly arranged to convey NTR Jr's movement with the favors of his unbelievable granddad, it likewise makes the impression of a race towards outperforming his granddad's noteworthy accomplishments. In spite of the fact that Understudy No: 1 was just NTR Jr's second lead job and at last his most memorable film industry achievement, Rajamouli's trust in creating this shot is really noteworthy. A comparative shot is available in his second executive endeavor Simhadri (2003) as well.

Regardless of various endeavors to emulate Rajamouli's later movies, especially Magadheera and the Baahubali series, by depending on epic filmmaking strategies, producers have simply seldom figured out how to accomplish a similar degree of progress. This can be attributed not exclusively to Rajamouli's expertise yet additionally to the particular subjects, character qualities, circumstances, and, to put it plainly, the adages that he integrates into his account, all of which have shockingly added to his prosperity.

The average legends

A far off cousin of the "furious young fellow" generalization, Rajamouli's heroes, including lords and champions, have characteristics commonly connected with common legends. They show exemplary nature, road smarts, steadfast magnanimity, and a capacity to interface with the commoners, charming themselves as dearest figures, and subsequently, perpetually prompting their possible victory. In the entirety of his movies, the legends are depicted as innately upright, liberated from any hints of villainy. This can be found even in his games actioner Sye (2004), in spite of the film being set against the background of a school.

Indeed, even in the Baahubali films, the focal characters, Amarendra and Mahendra Baahubali, show feelings and techniques likened to customary individuals, in spite of their imperial genealogy and love and sympathy overshadow their longing for triumph. This is exemplified in a critical conflict scene in Baahubali: The Start (2015), where Rajamata Sivagami Devi (Ramya Krishnan) crowns Amarendra (Prabhas) as the legitimate beneficiary of Mahishmati's lofty position since he focused on saving the existences of individuals over winning the conflict.

Over the entire course of time, common legends, unburdened by the negative qualities frequently ascribed to the special, have been praised and Rajamouli reliably portrays his male heroes thusly, charming them to watchers and collecting support for their prosperity.


A broadly treasured and much of the time investigated topic in Indian film, rebirth has been areas of strength for a component in Rajamouli's movies, with his legends frequently depicted as the resurrections of respected figures.

While Simhadri otherwise known as Singhamalai in Simhadri is portrayed as the resurrection of Master Narasimha, Kala Bhairava in Magadheera is the rebirth of the eponymous God, a symbol of Master Shiva, and Harsha in a similar film is depicted as the resurrection of Kala Bhairava, though Sivaji in Chatrapathi (2005) is displayed as the resurrection of Maratha ruler Chhatrapati Shivaji. Essentially, in Baahubali, Mahendra isn't just the child of Amarendra yet in addition displayed as to some degree a dad's resurrection, and the two of them are similar to the genuine Bahubali, a respected figure among the Jains, too, aside from the mixing components from different Hindu divine beings. However not unequivocally depicted as rebirth, towards the finish of RRR, Alluri Sitarama Raju (Slam Charan) wears a look suggestive of Ruler Rama, as portrayed in different works of art. In Eega (2012), then again, the focal person Nani is killed by the bad guys and resurrects as a housefly to retaliate for his demise.

By and large, this multitude of characters are depicted as the legitimate beneficiaries of either the characters who recently existed in their particular stories or even divine beings themselves and the movies center around their missions to determine unsettled matters from their previous existences or to look for equity against those with noxious expectation. Here, Rajamouli films additionally consolidate components from Hindu folklore, taking special care of most of Indian watchers, and un/intentionally gaining by the lamentable continuous push for saffronisation of the country.

As Rajamouli's movies dig into the idea of resurrection, flashbacks likewise assume an imperative part, conveying a strong and sincerely charged origin story for the protagonist(s) that fundamentally influences the watchers.

Familial and relational bonds

One of Rajamouli's remarkable assets lies in his depiction of connections. While his previous movies essentially focused on father-child and close connections, it was with Chatrapathi that he started digging into and portraying significant mother-child bonds. This investigation arrived at its apex in the Baahubali films, featuring the strong associations between characters like Sivagami Devi and Amarendra, Sanga (Rohini) and Sivu (Prabhas), and Devasena (Anushka Shetty) and Mahendra.

Simultaneously, in Rajamouli's reality, characters who share a heartfelt love are depicted as cherishing each other enormously, frequently portrayed in accordance with the idea of "to limitlessness and then some". This approach is especially noticeable since his movies frequently spin around subjects of resurrection, making the characters be isolated in one life just to rejoin subsequent to conquering various deterrents in the following.

Moreover, the producer likewise puts huge significance on connections among companions and compatriots, rising above blood and heartfelt connections. Remarkable models incorporate Ramaraju and Komaram Bheem (NTR Jr), Kattappa (Sathyaraj) and Baahubali, and Kala Bhairava and Sher Khan (Srihari).

Navel fixation

South Indian movies have for some time been scandalous for their obsession with displaying navels and waists, a pattern that has persevered for a really long time and is obvious in ongoing movies like Pushpa: The Ascent (2021). While Rajamouli's movies are not quite as backward as large numbers of their peers, they likewise frequently take special care of the male look, especially by featuring navels and midsections.

For instance, his actioner Vikramarkudu (2006) has a committed succession, aside from the different scenes later, where the female lead, Neeraja (Anushka Shetty), is made to show her waist and navel to stimulate the male lead Athili (Ravi Teja). From Understudy No: 1 to Baahubali, every one of his movies has reliably bets on this, externalizing ladies and diminishing them to simply their body parts, guaranteeing that male watchers "get what they need".

Amazing legends

Last yet unquestionably not least, and in that frame of mind, of the most repeating and critical components in Rajamouli's movies is the depiction of amazing legends. Especially in light of the fact that his principal characters exemplify characteristics related with common legends, raising them to unprecedented levels gives monstrous fulfillment to watchers, who see them as engaging figures and, thus, experience a feeling of therapy.

This is apparent on account of every one of his legends — from Aditya in Understudy No: 1, Simhadri, Prudhvi (Nithiin) in Sye, Sivaji in Chatrapathi, ASP Vikram Singh Rathore (Ravi Teja) in Vikramarkudu, Raja in Yamadonga (2007) to a degree and Kala Bhairava/Harsha in Magadheera to Ramu (Sunil) in Maryada Ramanna (2010), Nani in Eega, Baahubali and Ramaraju and Komaram Bheem in RRR; these characters have such characteristics. This arrived at its zenith in the Tiger chase and span and peak battle successions in RRR.

Surprisingly, this is likewise reflected in the titles of his movies, which reliably put an immediate accentuation on the male heroes, with the exception of RRR.

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