Baahubali 2 movie review: SS Rajamouli's film is a lot more than just why Kattappa killed Baahubali : Reviews, News. For the last two years, the question on everyone's lips is why Kattappa killed Baahubali. With Baahubali 2: The Conclusion finally in theatres this question will be answered.

But is The Conclusion a fitting end to the spectacular Beginning? Here's our Baahubali 2 movie review.  Baahubali 2 Cast: Prabhas, Rana Daggubati, Anushka Shetty, Ramya Krishnan, Sathyaraj, Tamannaah. Baahubali 2 Director: SS Rajamouli. Baahubali 2 Rating: (4/5)If you thought Baahubali: The Beginning was a grand spectacle, Baahubali 2: The Conclusion will give you a cinematic orgasm. SS Rajamouli's magnum opus could potentially change the dynamics of Indian cinema, with its seamless blend of good ol' storytelling and marvellous, poetic visuals.

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Sabu Cyril, take a bow for the outstanding production design. In The Beginning, Rajamouli had taken us into the mythical kingdom of Mahishmati, which looks like something straight out of a painting. The tyrant king Bhallaladeva (Rana Daggubati) leaves no chance to taunt the shackled Devasena (Anushka Shetty). The grime- covered Devasena patiently waits for the day her son Mahendra Baahubali (Prabhas) will rescue her and avenge her humiliation. The tyranny dates back to when the mighty Amarendra Baahubali (also played by Prabhas) was killed by the loyal slave warrior Kattappa (Sathyaraj) for reasons unknown.

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Baahubali 2: The Conclusion goes into rewind mode and establishes the characters and situations of The Beginning. We see the much- loved king- to- be Amarendra Baahubali fall in love with warrior princess Devasena. As he attempts to win her affection in disguise, the audience gets a few laughs in an otherwise taut drama. But Bhallaladeva also wishes to marry her, and her rejection of his proposal sets off a chain of events that form the story of Baahubali 2.

Baahubali literally means The Man With Strong Arms, and Prabhas essays this with panache. If you were blown away by him carrying a ginormous shivling on his shoulders in The Beginning, Baahubali 2: The Conclusion is right up your alley.

From smashing through walls to uprooting trees with his bare hands, Prabhas is the larger- than- life hero in this mammoth film. But where there is a hero, there is an equally strong villain. Enter Bhallaladeva, the man who tamed a wild bison with his bare hands in the first film. For all his dizzying brawn, he is, at heart, an insecure man, who takes pleasure in butchering an already dead Baahubali.

But the surprise performance is Anushka Shetty, who steals the show as a princess with a mind of her own, Devasena. She is introduced as a "bijli jaisi talwar chalane wali," and even when she is unarmed, her sharp tongue is a threat to Rajmata Sivagami (Ramya Krishnan), who is otherwise seldom challenged. The simmering tension between the two women is not very different from your saas- bahu jhagda over the son's loyalty, but it is the treatment that keeps you hooked. Baahubali 2: The Conclusion does leave a few questions unanswered. Bhallaladeva's son Bhadra was beheaded in The Beginning, but while over an hour is dedicated to Baahubali- Devasena's union, there is no mention of Bhallaladeva's wife. There is a mention of a civil war- like situation in the event that Amarendra Baahubali is killed, but the subjects meekly accept Bhallaladeva's tyrannny without protest, except the tiny rebel group that Avanthika (Tamannaah) was a part of. The first half of the film could have done with some snipping - the long courtship is a little stretched, although it provides some much- needed relief from all the drama of deceit and revenge.

Baahubali 2: The Conclusion presents the old- as- time conflict between good and evil, the classic trope of mythology. But watch the film for the grandeur, the visuals and the performances, that have you cheering for Baahubali, much like the subjects of Mahishmati. ALSO READ: Baahubali 2 live- streamed from Kuwait, people leaking clips from inside theatres ALSO READ: Prabhas and I are like Rama and Raavan, says Rana Daggubati.

ALSO WATCH: Everything you wanted to know about India's most expensive film, Baahubali.

Film songs based on classical ragas (8) – In the royal presence of Darbari. Guest article by Subodh Agrawal(It has now become routine for Subodh to surpass the outstanding.  He is coming back after a long gap.  But if the outcome is this superb piece, we don’t mind his prolonged preparations.  It is interesting to note that while the raga itself has gravitas, the word ‘Darbari’ meaning a ‘courtier’ lends itself to some pejorative connotation, giving rise to some interesting trivia and anecdotes.  Subodh’s explanation of its difference with ragas in close proximity, such as Adana, is scholarly.  Continuing a great beginning to 2.

I present this guest article by Subodh, his 7th in the series on the film songs based on classical ragas.  –  AK)Darbari – along with Bhairavi, Yaman and Pahadi – is one of the most commonly used ragas for film music. Having written about Yaman and Pahadi earlier and having enjoyed the experience, I was looking forward to doing this post on Darbari, but my enthusiasm waned considerably after I compiled a list of songs in Darbari in preparation for this article. The songs are good, some of them are great, but few of them really do justice to Darbari. Let me cite just three examples: O duniya ke rakhwale from Baiju Bawra, Dil jalta hai to jalne de from Pehli Nazar and Teri duniya mein dil lagta nahin from Baawre Nain – all three are very good songs but the mood they depict is not what Darbari is meant for.

As the name suggests, Darbari has a royal aura about it. There has to be a certain gravitas about it. In my humble opinion it is not meant for the kind of wailing and whining these three songs represent. Composers would be better off using a raga like Todi for such songs. Let me now touch briefly upon the technicalities of the raga. Readers of Songs of Yore would have seen my earlier post on Malkauns.

Malkauns uses only five notes, Darbari uses all seven. You add the missing notes‘re’ and ‘pa’ to the scale of Malkauns, and you have the scale of Darbari. There is one very important difference, however, in the way the two ragas use their scales. As I had mentioned in the earlier article, Malkauns allows a great freedom of interpretation. Once you get the notes right, whatever you do will sound like Malkauns. Darbari, on the other hand, has the same scale as Asavari/Jaunpuri.

One has to be very careful about the movement, otherwise one risks straying into the territory of Asavari, Desi and a host of Malhars. With these opening thoughts let me now present my choice of ten songs in Darbari. Nain heen ko raah dikha prabhu by K L Saigal from Bhakt Surdas (1. Gyan Dutt. Although Saigal departs from Darbari in the last lines of the second stanza, overall this song preserves the mood of Darbari much better than the two Mukesh songs I have mentioned in the opening paragraph. There is entreaty, prayer and pathos, but it is all rendered with a sense of dignity. Hum tujh se mohabbat kar ke sanam by Mukesh from Awara (1. Shankar Jaikishan.

Most fans of Mukesh – and I count myself as one – would probably not rate this song as high as Dil jalta hai or Teri duniya mein. However I have chosen to include it here because to me it depicts the mood of Darbari better than the other two. There is sorrow, the mood is somber, but like the Saigal song above it is presented with introspection, restraint and dignity. Ae dil mujhe aisi jagah le chal by Talat Mahmood from Arzoo (1. Anil Biswas. I am sticking my neck out by including this song in this list as one of most respected sources of classical music on the internet www.

Adana. I will cover Adana later in this post and in my opinion the movement of this song is much closer to Darbari than Adana. It may have used a note or two which is forbidden in Darbari but permitted in Adana, but I would not call it Adana on that count alone.

This song was included in this year’s first post as the centenary tribute to Anil Biswas. I am sure readers won’t mind its repetition as my personal tribute to the Maestro.

Tu pyar ka sagar hai by Manna Dey from Seema (1. Shankar Jaikishan. We have all remembered this song, among the best of Manna Dey, as we paid homage to the great singer last year. Of all the songs in this list, this one captures the mood of Darbari the best.

Ud ja bhanwar maya kamal by Manna Dey from Rani Roopmati (1. S N Tripathi. The first part of this song, sung by Manna Dey, is in Darbari; while the second part in Lata’s voice is in Sarang. This song has already found mention on Songs of Yore – Arvind’s comment # 1. Nain se nain milaye rakhne ko by Ustad Fateh Ali Khan and Zahida Parveen from Waada (1.

Pakistan), music Rashid Attre. This is a very interesting composition for Darbari with its energetic rendering and a lighter mood. The opening instrumental sequence is not in Darbari – the raga shows itself only when the vocal begins. Tora man darpan kahlaye by Asha Bhosle from Kaajal (1. Ravi. There are two very good songs by Asha in Darbari – this one and Daiya ri daiya laaj mohe lage. I have included this as this is closer to the mood I associate with this raga.

Koi matwala aya mere dware by Lata Mangeshkar from Love in Tokyo (1. Shankar Jaikishan. I have reached number 8 in this list without a song by Lata – what sacrilege!

Let me make up for this by including this dance number. I haven’t seen the movie, so I have no idea how this song fits into the foreign setting of this film. Hopefully some reader would throw light on this. Mitwa laut aaye ri by Manna Dey from Sangeet Samrat Tansen (1. S N Tripathi. Hindi film music directors have often misused Manna Dey’s talent for classical singing for flippant songs.

Fortunately when it comes to Darbari, they have by and large, avoided this temptation. I say ‘by and large’ because there is a glaring example of this misuse even in Darbari – Pyar ki aag mein tan badan jal gaya.

The present song from Sangeet Samrat Tansen does the singer and the raga full justice. Jhanak jhanak tori baaje payaliya by Manna Dey from Mere Huzoor (1. Shankar Jaikishan. This song has perhaps the highest recall factor when one thinks of film songs in raga Darbari. I fondly remember a fellow student from my days in IIT Kanpur – a sikh gentleman – who was very fond of this song and sang it with feeling whenever there was a musical evening organized by the students. He made up in enthusiasm whatever he might have lacked in musical subtleties. Before presenting this song he would shyly confess that he would sing two stanzas from the film, and two more that he had composed himself.

Unfortunately I don’t recall his name or anything else about him. I would be very happy to know about him if he himself, or someone else who knows him, happens to read this. That brings me to the end of the list of ten songs in Darbari. I look forward to many more in the comments by learned readers of Songs of Yore.

A few words now about Adana. Darbari and Adana are closely related. They follow the same scale, although occasionally Adana uses the shudh version of ‘ni’. The major difference is in the movement – as would be evident from the examples below. Unlike the slow ponderous movement of Darbari, Adana moves quickly and spends more time in the higher notes. In the words of Rajan Parrikar at http: //www.

Adana is allied to Darbari it jettisons much of the latter’s ponderous baggage…  In contrast to Darbari, Adana is an uttaranga- pradhana raga, lithe and full of gusto.”  I have omitted a politically incorrect part of the comparison; interested readers may visit the original site. I now present three songs, without any comments, in Raga Adana to illustrate this point.

This will also show why I have differed with chandrakantha. Darbari list: 1. Jhanak jhanak payal baaje by Ustad Amir Khan from Jhanak Jhanak Payal Baaje (1.

Vasant Desai. 2. Radhike tune bansuri churayi by Mohammad Rafi from Beti Bete (1. Shankar Jaikishan. Manmohan man mein ho tumhi by Suman Kalyanpur, Rafi and S D Batish from Kaise Kahoon (1.