THE BAHUBALI MANIA SPREADS WINGS

THE INCREDIBLE INFLUENCE

(By Subbaram Danda)

The victorious run of the two Bahubali movies has set off a wide variety of commercial activities nationwide.  In the textile world exciting fashion trends have emerged.  Jewellery designs have undergone a sea change. The literary scene has witnessed arrival of new novels with the Bahubali theme.  Next in line to get influenced is production of toys and show-pieces.  An amusement park on the outskirts of Chennai has introduced a special programme.  Of course, the jokes generated by the films are now the staple household fare. 

Saris

Bahubali saris of a bewildering variety have flooded the market.  Essentially, they are of two types -- those with pictures of the Bahubali scenes printed on them and those similar to the ones worn by the leading characters of the film.

Interestingly, the saris and other ready-mades featuring the movie scenes were produced first by the Gujarati textile industry to be later followed by others.  The primary motif used is the eye-catching scene of Amarendra Bahubali teaching Devasena the complicated steps in archery.  One can buy Bahubali combos as well – especially printed kurtis and saris.

The designs, patterns and colours of the saris worn by the actresses have been reproduced by a million.  There are brocades, chiffons, georgettes, poly silks, processed jutes and plain cottons in jacquard, embroidered, embellished or simply printed varieties, all reflecting the royal exuberance.

The prices range from Rs.999.  Online outlets have joined the band wagon in large numbers offering attractive pieces.

Jewellery

No ornament lover would have missed the stunningly artistic jewellery that Devasena and Sivagami flaunted scene after scene in the film.  Even men characters did not lag behind.  The ornaments radiate a touch of antiquity in view of the historic perspective of the film but they do have a modern appeal.

For the film, the jewels were designed and produced by Jaipur-based Amrapali Jewellery, which has officially partnered with the movie makers for the purpose.  It has about 30 outlets all over India and its Hyderabad unit coordinated with a film team to ensure that the pieces meet the exacting demands of the film.

Telugu television channels vied with each other in presenting to viewers the 1,500-odd jewellery items that Amrapali produced.  Most of them are silver-based and gold-plated, as only such a process will yield precision and glow to the jewels and match the opulent settings.  They include necklaces, bangles, bracelets, anklets, ear rings, waist belts, arm bands, ear rings, nose pins and what not.  All of them have been hand-crafted.  A large group of designers worked tirelessly for months turning out the precious products at Jaipur and Hyderabad.

Amrapali has put them on show for people to see, admire and even purchase. Interestingly, some of them are multi-purpose ones.  A necklace can be worn as a waistband too. 

Many other jewellers have also entered the arena.  And there is a Bahubali mangalasutra too!

Books

In sync with the sweeping developments, books have hit the market to serve as companions to the cinematic creations.  Two major literary works are “The Rise of Sivagami” by Anand Neelakantan (Westland Publications) and “Bahubali: Battle of the Bold” (Graphic India).

Director of the films S.S. Rajamouli is all praise for “The Rise of Sivagami.”  He says, “I may have brought Sivagami to life on screen, but it is Anand Neelakantan, who has given her wings.”

“Bahubali: Battle of the Bold” is a graphic novel giving people fresh insights into the characters and taking them into a world of new adventures with Bahubali and other pivotal characters.     

Toys and figurines

The Bahubali euphoria has spread to production of toys and figurines as well.

 

Children are going crazy to own and show off swords similar to those used in the movies.  These toy weapons are made of quality plastic incorporating safety features.

Figurines of major characters of the films have been produced, which can serve as show pieces in the drawing room,   Models of Amarendra and Bhalladeva in their full battle outfits are much sought after.

Theme park

Kishkinta, a well-known theme park near Tambaram on the outskirts of Chennai, has introduced a new programme based on the Bahubali concept.  A promotional video promises visitors that the programme will enable them to relive the roles of Bahubali and other actors. 

Jokes

Ever since the first Bahubali flick hit the entertainment world, humour writers have been busy churning out pieces on WhatsApp, Facebook and the rest of the social media.  Sample the following. 

Teacher: Who is the first man to set foot on the moon?

Student: Bahubali.

Teacher: (Angrily) What?

Student: Bahu means ARM and Bali means STRONG. 

***

Amarendra Bahubali did not consume liquor anywhere in the film.  He was killed by Kattappa.

Bhallaladeva also did not touch liquor.  He was done to death by Mahendra Bahubali.

Only crafty King Bhujjaladeva lived till the end.  He was a regular drinker!

***

Neither a bunch of flowers nor any words of endearment will help a young man win the heart of his lover, but surely a couple of tickets to Bahubali.

***

Why did Kattappa kill Bahubali?  This was the teaser at the end of the first Bahubali film.  It was a great marketing strategy.  This has given rise to a plethora of funny reactions.  Here are some:

Kattappa killed Bahubali because the toothpaste that he used had a lot of salt in it!  It made him the most trustworthy slave to his royal bosses.  That is why he executed their orders without asking a question.

A job recruiting agency advertised:  “Don’t be like Kattappa carrying out obediently all orders of your higher-ups in the office.  Kick your job today.  We will get you a better position.”

 A man applied for a day’s leave.  The reason he cited was: “Going to stand in the queue to buy tickets for the Bahubali movie.  My mind will blow off if I do not know by the first show on the first day the reason why Kattappa killed Bahubali.”

***

And the show will go on. Only time will unfold what more Bahubalis can do.

(Ends)

June 06, 2017

BAHUBALI - 02 : MY REVIEW

A COLOSSAL ENTERTAINER

(By Subbaram Danda)

Amarendra Bahubali teaching archery to Devasena.

BAHUBALI - 02 : THE CONCLUSION is a grand spectacle of gigantic proportions.  Lavish sets, exotic locations and splendid graphics make the film a cinematic extravaganza.  Bizarre battle scenes, blood curdling fights and frenzied heroic deeds come out vividly alive.  Glitzy dances, tuneful songs and catchy lyrics add a touch of romance to the action-oriented fast-paced three-hour show.  The movie dazzles, mesmerises and stuns the viewers.  

My wife and I watched the Telugu version of the film at a PVR cinema hall in the Grand Mall at Chennai’s southern suburb of Velachery on May 2.  To say the least, we enjoyed it.

At the PVR cinemas, Velachery

 

The picture succeeds BAHUBALI - 01: THE BEGINNING, which was a major hit a couple of years ago.  It ended throwing up a teaser.   Why did most loyal and faithful warrior chief Kattappa (Satyaraj) kill Amarendra Bahubali (Prabhas) of the royal family?  This kept the film-goers wondering. They eagerly looked forward to the sequel.

Amarendra Bahubali in one of his proud moments

The story of the final part bristles with twists and turns, intrigues and imponderables.  At times it lacks in conviction.  It revolves around two contenders to the throne of the kingdom of Mahishmati -- cousins Amarendra Bahubali and Bhallaladeva (Rana Daggubati).  The two covet Princess Devasena (Anushka Shetty) of another territory.  However, Bahubali and Devasena hit it off.  Also, the reigning Queen Mother Sivagami of Mahishmati (Ramya Krishnan) favours Bahubali to the throne in view of his gallantry.  But falling a prey to Bhallaladeva’s machinations, she directs Bahubali to choose either love or crown.   Bahubali prefers the hand of Devasena.  Bhallaladeva ascends the throne and manages to get Bahubali banished from the palace.  He further prevails upon the queen to order over-faithful Kattappa to assassinate Bahubali.  Bound by his word to serve the royalty under all circumstances, Kattappa completes his job by stabbing him in the back.  This part appears patently contrived and many may not like it.  The revenge scene unfolds years later and is enacted by Amarendra’s son Mahendra Bahubali (Prabhas in a double role).  His soulmate is Avantika (Tamannah). 

Devasena in a dance sequence

The arena for the coronation of  Bhallaladeva

  

A part of the Mahishmati palace

Kattappa stabbing Amarendra Bahubali in the back

Bhallaladeva

Mahendra Bahubali

What makes the film succeed exceedingly well, despite the unconvincing and over-stretched storyline, is its glittering package of bewitching visual effects. In the euphoria generated, the viewers remain completely awe-struck. While the first flick was a treat to watch, the second is a feast to relish.  One should see it in a cinema hall with a modern wide screen and excellent acoustics to savour its delights.  The emotions expressed by Ramya Krishnan, Anushka and Prabhas overwhelm the viewers.  Satyaraj's performance is one of his career's best. Cinematographer Senthil Kumar has done a marvellous job turning his frames into memorable images.  Director S.S. Rajamouli merits all-out appreciation for making his entire team toil willingly to produce a masterpiece.

The film opened on April 28, 2017 in over 9,000 screens nationwide, including 1,500 in just the two Telugu-speaking states of Andhra Pradesh and Telangana.  This is in addition to overseas releases.  The cash registers kept ringing and the box office collected a record Rs.125 crores on the first day itself.  Even Bahubali-01, which garnered Rs.60 crore on the inaugural day, seems an underperformer now!  Through its full run, the first part reportedly fetched Rs.600 crores and the sequel promises to rake in Rs.1,200 crores going by current trends. 

The fantasy has unwittingly bagged another trophy.  It has proudly lifted the status of the south Indian film industry to new heights of glory, smashing the dominance of Bollywood not only in terms of collections but also in creating world-class blockbusters. 

May 02, 2017

----

BHUBANESWAR : TEMPLES GRAND AND OLD

“A city of temples” -- this tagline is very apt for Bhubaneswar.  A string of centuries-old temples attracts a large number of visitors daily from all over India and abroad.  In fact, the city has very many other shrines as well.  The tagline has stuck though the capital city of Odisha has made rapid strides towards becoming modern.  The city is an essential part of the state’s Golden Triangle -- Puri, Konark and Bhubaneswar.

RARE, STRANGE AND UNIQUE

(By Subbaram Danda)

Lingaraj temple

Among all abodes of Hindu worship in Bhubaneswar, Lingaraj temple stands out as the most unique, largest and most visited.  Built in the eleventh century, the sprawling temple is dedicated to Harihara, a fusion of Vishnu and Shiva.  This mode of veneration is a rarity.  There are only about half a dozen similar temples in India and a few overseas.  Paintings and sculptures, of course, liberally portray this form of divinity. The concept of Harihara is a profound philosophical expression that unifies two apparently different aspects of the same Supreme Being.     

Built by King Jajati Kesari, it was originally designed as a Shiva temple as the term Lingaraj connotes.  The Shiva linga in the sanctum is said to be Swayambhu (self-originated).  But in course of time with Vaishnavism becoming prominent in the region, the linga itself came to be treated as Harihara and worshipped accordingly.   The temple also underwent some changes.  At the main entrance, on either side of the door, one can see even today a Trishul (trident) and a Chakra (wheel) representing the two deities.

Around the main temple, there are numerous smaller shrines for other deities within the complex fortified by a high wall.  The main Vimana (tower over the sanctum) rises to a height of 180 feet and exhibits sculptures of divine beings, royalty, dancers, musicians, animals and hunters. 

The tower of the Lingaraj temple

An interior view

A long shot of the Lingaraj temple

Rajarani temple

Mystery surrounds the Rajarani temple.  It stands without any presiding deity inside!  It has always been so, according to our guide.   Why?  He has no credible explanation.  Interestingly, all other essential architectural segments of the temple are intact -- the tower, the audience hall and the porches.  

Another intriguing feature is that the name of the temple has nothing to do with any king or queen but refers to a type of sandstone locally available called Rajarani.  The temple was built with such stones. 

Who constructed it?  It is also an enigma.  An inference attributes it to Somavamshi kings, who had migrated from Central India to Orissa.  Similarly, its time of construction is a conjecture – 11^th century.

All said and done, it is a great temple to visit, especially because its sculptures come out alive, brilliantly and gorgeously.

A well-laid-out pathway with neat lawns and hedge plants lead visitors to the temple far interior.  Cool shadow trees encircle the small temple.  The frontage is not very impressive.  But going around it, one is struck by the beauty and exuberance of its architectural splendour.  Its main tower rises to a height of 60 feet.

Figures of slender women fondling a child, looking into a mirror, removing an anklet, caressing a bird, playing an instrument or holding a tree branch are all there in an exceptionally well-preserved form.  Sculptures of damsels in amorous dalliance do not fail to shock the visitors.

As there is no worship, only tourists and heritage lovers visit the temple.

The imposing tower of the Rajarani temple

The well-preserved sculptures of the Rajarani temple

The overall view of the Rajarani temple

Mukteswar temple

One of the most compact places of worship in Bhubaneswar, Mukteswar temple is renowned for its architectural adornments.  Its arched gateway is a masterpiece of extra-ordinary craftsmanship in stone. No visitor misses the languorously reclining damsels etched on it and bands of other delicate embellishments.   In another respect also it is significant.   The gateway is not part of any other temple in the region.  This aspect imparts uniqueness to the temple.

The ceiling of the porch displays an eight petal lotus in a brilliant formation.  The tower and walls of the temple exhibit sculptures drawn from Hindu scriptures and tales of Panchatantra. Of course, beasts and beauties have their due place.  A specialty is portrayal of ascetics in different poses of meditation.  Through this depiction Mukteswar temple seeks to convey that meditation is essential to attain mukti (deliverance from earthly bonds).

The Shiva temple dates back to the 10^th century and it is postulated that Somavamshi king Yayati built it.  It is considered a monument of importance in the study of development of Hindu temples in Odisha.

The ornate arched gateway of the Mukteswar temple

The overall view of the temple

A neat pathway leading to the Mukteswar temple

These are the three most prominent temples that a tourist to Bhubaneswar should visit for their variegated fare.  They are sure to leave a lasting impression on anyone.  There are still a few others worth a visit.  We  could not, however, go there for want of time.

End of the series on Odisha.

April 18, 2017

DHAULI GIRI: Witness to a great transformation

BRUTAL WAR AND ENDURING PEACE
(By Subbaram Danda)

It was the fiercest war ever fought in the early history of India and also one that turned a victorious king into an apostle of peace – the Kalinga war of 261 BC. 

It was fought between Emperor Ashoka of the Mauryan dynasty and the ruler of Kalinga, a small prosperous independent country, on the banks of River Daya at Dhauli in the present-day state of Odisha.  It was so brutal that more than 150,000 warriors and civilians perished in it and the “river flowed red.”   

Though Ashoka conquered Kalinga, the lives lost and the havoc it caused made him repentant. It brought about a profound transformation in his attitude towards humanity.  The preachings of a Buddhist monk on futility of war also impacted him.   Ashoka retained Kalinga under his fold but put a stop to any further military expansionism.

Finally, the emperor embraced Buddhism, abjuring violence of any kind.  The scene of all this action, Dhauli, lies at about eight kilometres from Bhubaneswar, the capital city of Odisha. 

Overlooking the Daya river, there is a hillock called Dhauli Giri.   It is on this hillock that in 1972 a Vishwa Shanti Stupa, Peace Pagoda, came up through Indo-Japanese collaboration.   It is now a major tourist attraction.

A massive dome, the stupa stands with five chatris (umbrellas) on its top, which represent the five moral precepts of Buddhism.  The tenets are:  no harm to living beings, no stealing, no sexual misconduct, no lying and no liquor consumption.  The stupa can be reached by climbing a long but easy flight of steps.  The gleaming white structure has a circular walkway around it for visitors to move and see different sculptures of Buddha in niches and on wall panels.  Statues of lions in bright yellow on the peripheral wall of the walkway give the impression that they are standing guard of the stupa.

Dhauli also houses edicts of Ashoka inscribed on a massive rock that can be seen on the side of the road leading to the stupa on the hillock.

We visited Dhauli Giri on our way to Bhubaneswar.  Here are some photos:

  

In front of the Vishwa Shanti Stupa

The main Buddha statue in the stupa

Buddha in a reclining position

One of the lion statues on the outer wall of the walkway

The umbrellas on top of the stupa

My next presentation will be on Bhubaneswar.

April 15, 2017

KONARK REDISCOVERED

It was a revisit for me.  I had been to Konark Sun temple earlier.  However, my wife was seeing the internationally famous monument for the first time.   My immediate reaction was that its bewitching charm has not diminished in any way. 

THE MESMERISING MONUMENT

(By Subbaram Danda)

The Jagamohana (audience hall) is the principal structure
 in the Konark Sun temple complex today

The Sun temple, in its present form, stands gorgeously in the middle of a lush green garden with neatly mowed lawns and nicely trimmed flower plants.  It continues to attract people from all over the world.  

We engaged an English speaking guide to take us round and tell us about strange and mysterious aspects of the temple.  He was knowledgeable and articulate.  We were astounded when he described how the statue of the Sun originally looked in the sanctum.  We heard him with bated breath.

The highly ornate and resplendent statue was in a totally levitated state as if suspended in air well above the ground.  This was made possible by a huge powerful magnet installed on top of the 229-foot Vimana (tower over the sanctum) and smaller ones at other points.   Iron plates were also inserted between pairs of stones all around the rising tower.   This arrangement generated interacting magnetic forces and kept the idol made of iron-rich material floating.  Incredible!  Incredible!!

But, ships sailing on the sea near the coast of the temple had a tough time with their compasses, which went haywire because of the power of the huge magnet.  Angry Portuguese sailors bombarded it with canons.  The result was devastating.  The magnet and the tower came crashing down.  A colossal loss!  How wonderful it would have been, had the levitating statue existed to this day!!    

Another version says that the collapse of the tower was on account of the weight of the superstructure and inadequate foundation in the loose soil at the site.   There is also a view that it was the mindless work of anti-Hindu outfits at that time.  The event took place in 1837.

The principal structure that we see today is Jagamohana (audience hall) in front of what was once the sanctum.   Soaring to a height of 128 feet, it provides an aura of grandeur to the entire scene.  Other surviving buildings are Nata Mandira (dance hall) and Bhoga Mandapa (dining hall).
 

In front of the Nata Mandira

Our guide explained that the temple was built by King Narasimhadeva I of Eastern Ganga dynasty in 1255 in the traditional Kalinga style of architecture.  More than 1,200 artisans worked hard to create the wonder in stone in 12 years.  In 1984 it received UNESCO’s tag of “World Heritage Site.” 

The entire structure was conceived and constructed in the form of a gigantic chariot ornately crafted with twelve pairs of elaborately carved 10-feet high stone wheels together with a set of seven horses (four on the right and three on the left) pulling it.  The 12 pairs of wheels represent 12 months of the year and the seven horses stand for the seven days of the week.  There were also three images of the Sun on the outer side facing three directions. 

Each of the 12 pairs of wheels is extensively carved

 

The whole temple is oriented towards east in such a precise way that the first rays of the morning Sun would always pass through the Nata Mandira and the Jagamohana.    When the Vimana was there, the rays illuminated the sanctum.  

The temple’s architectural features are innumerable.  A pair of identical sculptures on each side of the steps of the entrance to the monument captures the attention of the visitors – a fierce lion pouncing on a mighty kneeling elephant, which tightly holds under its trunk a man lying on the ground.  What is sought to be conveyed through this display?  Elephant symbolises power and lion stands for pride.  When a man’s pride overrides his unbridled power, his fall is imminent.  The sculptor has done a marvellous job.

The symbolism of lion, elephant and man

Women practised boxing in those days!  We were somewhat surprised, when our guide talked about them, pointing to a neatly carved panel on an exterior wall of the temple.  Boxing was a popular game at that time and women in large numbers participated in it.  They also excelled in such uncommon activities as horse-riding and animal fighting.  Of course, their forte was fine arts.  Courtesans specialized in exotic forms of dance.  “This shows that women of that time played a dominant role in the society,” our guide commented.

Boxing women

A woman riding a horse 

A woman fights with an animal

Women, of course, excelled in music and dance.

It is indeed a great celebration of life that unfolds in stone everywhere in the temple complex – on the walls, niches, pillars, pedestals and plinths.  There are friezes depicting dancers and musicians, courtesans and sages, hunters and animals, celebrities and commoners, and celestial nymphs and divinities. 

Strikingly attractive damsels can be seen in a variety of postures – wringing water from wet hair, caressing a bird, arms raised over the head, playing musical instruments, fondling a child and exhibiting their body sensuously.   There is no dearth of mythological figures, including human-headed serpents and demons.  The king and facets of his daily life including royal hunts, processions, victories and religious activities are writ large everywhere. 

It is a carnival of life everywhere

More feminine figures and exotic animals

Carvings and sculptures everywhere

Unabashedly erotic sculptures, large in size and conspicuous in detail, do not fail to stun the visitors.  They are particularly prominent on the walls between the basement and the lintel. Celebrities, nobles, warriors, merchants, commoners and even sages participate in sensuous extravaganza.   It is explained that amorous adventures and frank display of the rhythm of life were never a taboo in ancient Indian literature and temple art.   Erotica has always been treated as a prominent aspect of temple decoration and Konark is no exception.

Turning to other aspects, our guide pointed out that the wheels are the most-photographed portions of the temple.   It is noteworthy that each one also serves as a sundial.  If one places a stick on the axle perpendicular to the surface of the wheel, its shadow falls at a point on the rim indicating the time of the day.   Its precision has to be appreciated.

The senseless handiwork of vandals is evident at quite a few places.  A panel on the exterior wall portraying the images of King Narasimhadeva and his wife remains mutilated.  The lower torsos of the royal couple have been done away with.  Many disfigured sculptures can be seen elsewhere too.

The disfigured statues of King Narasimhadeva and his queen

The Archaeological Survey of India, which manages the monument, has done a remarkable job in installing at different points in the complex statues and artefacts that have been salvaged from the collapsed rubble.  War steeds and enraged elephants, all life-size, stand on separate pedestals.   The tense expression on their faces, the contours of their taut muscles and the posture of their legs make a lasting impression on the visitors.

 

Statues of elephants salvaged from collapsed rubble

A war steed and a warrior with his head cut off

Another salvaged sculpture

The Konark Sun temple speaks volumes about the history, society and pastimes of the people of those times.  As Nobel Laureate Rabindranath Tagore said, “here the language of stone surpasses the language of man.”  Nothing can be more truthful than this.  For heritage lovers it is a treasure trove. 

My next piece will be on Dhauli Giri, where Emperor Ashoka embraced Buddhism.  

April 12, 2017