The box office exploits of Baahubali 2: The Conclusion have attracted much comment. Many have wondered how a south Indian film with not a single star known to north Indian audiences could connect so well with viewers in the cow belt.
There are several reasons why the Baahubali diptych has been wildly popular. The most obvious one is that it exemplifies storytelling at its captivating best. Director S.S. Rajamouli’s singular achievement has been to translate the fabulistic world of Amar Chitra Katha into a three-hour, immersive reality experience. In the process, he has managed to accomplish something that no film-maker has done before on a scale and with the conviction that he has: fabricate an Indian superhero.
Let us unpack the cultural content of this Indian superhero. First of all, he is, quite categorically, a Hindu. He is a Hindu defined by his caste identity, a Kshatriya. And finally, by showing the Kshatriya superhero leading a Hindu army that vanquishes an invading swarm of barbarians, the two
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Some may argue that the religious and caste identity of the warrior hero in Baahubali are incidental to the story. Not really. His character and world view are defined by the Kshatriya ethic. The Hindu ethos of the characters and the kingdom of Mahishmati, where the action is set, is reinforced right through the film. The dialogues, landscape, costumes, and even subplots are steeped in Hindu edicts, iconography, and symbolism — from giant elephants and
Rallying around the perfect Hindu
Beneath the expertly paced plot and glossy production values, the subtext of
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Superheroes are cultural tropes by which a people relate to their world, to others, and to themselves. The Baahubali films, coming at a time when Hindu nationalistic sentiments are at a fever pitch, constitute a significant cultural intervention.