![]() ![]() This production’s triumph is the room it’s granted Rajamouli to head into the fields and dream up endlessly expressive ways to frame bodies in motion. Rajamouli plots a nimble, broadly progressive path through an especially tangled set of court politics – setting Baahu and Deva toĭodge iron fists and wandering hands alike – while alighting upon pleasing grace notes and symmetries: the coda offers a rare convincing demonstration of trickledown economics, even as it returns us to The Beginning.Įntirely absent, again, is any cynicism: it’s amazing that a blockbuster with a long pre-title rollcall of “brand partners” should then be permitted to tell a story that could have been filmed in 1917, or 917, if they’d had equipment for a Baahu to lug. This time, however, we’re more aware of the stakes underpinning such flights of fancy. ![]() Baahu’s quasi-cartoonish strength permits the film to take mightily imaginative leaps: one minute our guy’s casually surfing flaming oxen, the next he’s converting himself into a human cannonball with the assistance of a coconut tree.
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