Interview: Director SS Rajamouli On BAAHUBALI, An Epic Undertaking

Editor, Asia; Hong Kong, China (@Marshy00)
This Friday sees the domestic release of Baahubali: The Beginning, touted as the most expensive Indian film ever made. Directed by SS Rajamouli (Eega, Magadheera) and boasting a cast that includes such talents as Prabhas, Anushka Shetty and Rana Daggubati, the Telugu-language period epic is set to become a box office behemoth.

Back in April, ScreenAnarchy was invited to Ramoji Film City in Hyderabad to see some of the epic sets used in the film, and to visit the offices of production company Arka Media Works. There we were privileged enough to meet with director Rajamouli, who granted us an interview to discuss his experiences making the film. 

The first of an epic two-part saga, with a plot still largely shrouded in mystery, Baahubali: The Beginning looks - from the tantalising snippets of footage we were shown - to be a fantastically entertaining film, not to mention a mammoth undertaking. In the following interview, Rajamouli talks about his inspirations and experiences, and shares his opinions on violence and music in contemporary Indian Cinema.

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Where did the idea for Baahubali originate?

Actually my fascination started from a very early age. My first foray into mythology and period drama was through comic books. Amar Chitra Katha is an Indian comic book that dealt with mythology, folklore, history, everything. Every classic Indian tale was in those comic books. I used to read them more than my school books.

Luckily my father and mother never discouraged me, in fact they encouraged me to read more and more stories and comics. I was heavily into those comics and also the Indian mythologies of Ramayana and Mahabharata, I had the children’s versions of them. My grandmother gave those to me at a very early age. So I was really fascinated with big palaces, kings on horses, battles and all of that from a very early age.

But this particular story is completely original, right?

Yes, it’s completely fictitious, including the historical period. When I became a director my fascination was still there. Obviously the budgets need to be much bigger to make these kinds of films, but about 7 or 8 years years ago I ventured into semi-mythology in a small part of the film Yamadonga, which paid off well. Then we made Magadheera, half of which has a period setting.

I must confess I’ve only seen the scene where a car flies into a helicopter.

That’s the best part! But the period stuff also paid off very well, which gave me the confidence to do a fully-fledged historical film. So that is the basis of how I came to Baahubali. But actually what inspired me to make this film were the characters created by my father. He is a story writer. He wrote almost all my films. He created these very strong characters, and the friction between them created a space for lots of emotional moments.

One of the key relationships in the film is between a father and son, a man’s efforts to become who his father was supposed to be. Do you think your father was trying to tell you something?

[Laughs] Nothing for me, but the characters in Baahubali are not the kinds of characters I have dealt with before. Most of my characters in my previous films are very black and white, but in Baahubali the power game, the politics between the six or seven principle characters, not all of them are black and white. There are a lot of grey shades to their characters, which gives a lot of depth to the movie.

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BaahubaliindiaSS RajamouliTelugu

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