A lot of the 70-80s kids had this adolescent fantasy of
Catherine Tramell’s wild erotica but (no or) lesser admiration for her writer
brilliance when she said, “You make up stuff that is believable. It’s called
suspension of disbelief.”
While that brilliance kept humming in my brain when I saw a
ship fly or a group of soldiers become a turbine in the sky, I was more willing
to give the benefit of doubt to an era and it’s intellect we didn’t know about
much. ‘May be, it’s possible,” I said without giving much attention to how many
physics laws were defied. If I would have paid more attention to science, I
would have completely missed the heroic rendition of art onscreen.
A sequel that is packed with accelerated momentum of
incidents and adventure at short intervals in time luminously outsmarts last
year’s depiction. The set (or graphics) that
I was so impressed with get’s a whole new character when Rajamouli leverages it
as theatrics for impact at King’s ceremony. He makes us believe that we all
love a hero: the empathetic one, the brave one, the feminist, and the one who
always attempts to be fair. I am more than happy to spend my few hundred as ‘drop’
contributions to the ‘500+ crores’ ocean for a director who has the vision to
create ‘avatar’-simile-visuals.
I cannot dismiss the most significant ‘A’ contribution to
the sequel: Anushka Shetty. As she cuts through every single frame lent to her
in part 2, it becomes hard to not notice how she adds her gargantuan aura
beyond the hero, the villain, the set, and the story. You take her off and
suddenly the film seems to die. She is the film’s erotica in a hot pink avatar,
flare in hair, and a swirling sword. I mean, just look at her.
