Not too long ago, certain sections of media would use phrases such as “non-baahubali” records to describe movie cash collections. Some went a step further in using terms such as “non-SSR” records in an attempt to create a clear distinction between the said director and everyone else. Such exclusive language was coined to stress that he is in his own league. Although subsequent movies such as KGF have threatened such notions, Pushpa franchise has now officially shattered all norms and created a new bar in Indian movie history with the phenomenal box office success of Pushpa 2, truly the “Rule”.
Aside from the cash cow that this movie has become, it is important to also realize the significance of Sukumar’s efforts and approach to movie-making in bringing it to this level. His mastery of the craft was already evident in the way he sculpted Rangasthalam, a rural backdrop story that created waves and made everyone realize the power of honest storytelling, a rare feat in commercial Telugu cinema. He proved that he can uniquely blend powerful on-screen portrayal of the protagonists with gripping emotional tales and still score stupendous hits. While many feel that Pushpa-2 is a mere commercial entertainer, there is more to it than just that.
Sukumar and his team has built upon the characterization of Pushpa from where they left off in part 1, the rise. They maintained their steadfast devotion to Chittoor slang that immediately creates an authenticity to the movie plot. The movie took Pushpa’s role to its zenith while all along remaining loyal to the core of his identity, i.e. blatant irreverence to established order. This might just appear as pandering to machismo and heroism but there is also a conscious effort to expose the hypocrisy in our society. In Pushpa-1, seated relaxingly in a chair after a day of hard labor, he refuses to stand up as a sign of respect to his employer claiming bodily freedom and autonomy. This was taken to the next level in part 2 when the character refuses to cower down in front of the Chief minister of the state. Such an arrogant Pushpa is shown as a uniquely loving husband that shows no qualms in kissing the feet of his dear wife, a gentle snub to misogyny. There are numerous references in the movie to show that a coolie wood-cutter becoming a smuggler has nothing to be ashamed of when power brokers become politicians, elite IPS officers become stooges and elected MLAs sell their loyalty for cash, a truth that is all encompassing in the world around us. The movie successfully taps in to these emotions that are widespread in today’s society. Such feelings are not only limited to India – as seen in the case of a vigilante youth killing the CEO of the Insurance giant United Healthcare in broad daylight recently and the social media venerating the killer, visceral hatred towards the oligarchy is omnipotent.
As a section of critics are playing foul that Pushpa-2 has no story line and is a mere amalgam of ill-concocted scenes, one could argue quite to the contrary. The movie took one of the core themes from the first part about Pushpa’s obsession with lack of a family name and weaved an emotional saga around it. The director shines in highlighting the plight of individuals born out of wedlock and how it becomes a part of their fiber and entire life. The hypocrisy of our vastly inequal society in giving undue importance to an individual’s father while looking down upon the mother is laid threadbare in every frame that brings the issue of Pushpa’s family name to the fore. The way this constant volcano in Pushpa’s heart exhorts him to gain fame and riches in life is effectively captured on screen. The success of the director is in showcasing these emotions deftly without overburdening the audience with customary lengthy dialogues and wallow of self-pity. Perhaps the most effective way this was done was by having Srivalli give a deafening retort to Pushpa’s step-brother in pooh-poohing the idea of a family name and rather that “name” is earned by Pushpa’s deeds and not by birth.
Finally, the pinnacle of Sukumar’s directorial abilities in this movie was the elan with which he captured the Ganga-Renuka thalli community festival. In an era where fantasy and imagined history are propagated as virtuous, Sukumar takes us back to our roots. Village deities and annual jaataras are where our ancestors began in time immemorial. In tying the larger-than-life character Pushpa to this longstanding, innately Indian culture, the director struck a chord with the people of the land that revel in such festivities to this day. Allu Arjun did emphatic justice to the episode with his mesmerizing dance and facial expressions fully capturing the essence of the age-old tantra ritual of adorning a female form in complete devotion to the reproductive, all-encompassing power of the mother i.e. ammoru. Chandrabose’s lyrics for the Gango Renuka thalli song, singer Mahalingam’s tantalizing voice and above all, Devisri Prasad’s outstanding music brought in the complete vibe together. It is not by coincidence that the Jaatara sequence has been lapped up by audience across the country because it is a cultural tradition ingrained in the masses of the land. By brilliantly capturing this on screen, Sukumar with his able technicians has truly taken Telugu cinema to the next level. This is particularly special because he did so by sticking to our roots and not by emulating unnatural grandiosity and reliance on CGI, a feat that is arduous. Yet he remains so unassuming and lets the team take the credit instead of hogging the limelight!
Dr G Naveen has been writing articles pertaining to politics with emphasis on social Justice for more than 20 years on various platforms. He is a physician by profession.
