A beginner’s guide to SS Rajamouli: Exploring recurring themes, character traits and clichés in his films

Despite numerous attempts to imitate Rajamouli’s later films, particularly Magadheera and the Baahubali series, by relying on epic filmmaking techniques, filmmakers have only rarely managed to achieve a comparable level of success. This can be credited not only to Rajamouli’s skill but also to the specific themes, character traits, situations, and, in short, the clichés that he incorporates into his narrative, all of which have surprisingly contributed to his success.

The working-class heroes

A distant cousin of the “angry young man” stereotype, Rajamouli’s protagonists, including kings and warriors, possess qualities typically associated with working-class heroes. They exhibit righteousness, street-smarts, unwavering selflessness, and an ability to connect with the common people, endearing themselves as beloved figures, and hence, invariably leading to their eventual triumph. In all his films, the heroes are portrayed as inherently virtuous, free from any traces of villainy. This can be found even in his sports actioner Sye (2004), despite the film being set against the backdrop of a college.

Rajamouli with NTR Jr during the launch of Simhadri. (Image: SS Rajamouli/Facebook)

Even in the Baahubali films, the central characters, Amarendra and Mahendra Baahubali, display emotions and strategies akin to ordinary people, despite their royal lineage and love and compassion take precedence over their desire for victory. This is exemplified in a crucial war scene in Baahubali: The Beginning (2015), where Rajamata Sivagami Devi (Ramya Krishnan) crowns Amarendra (Prabhas) as the rightful heir to Mahishmati’s throne because he prioritised saving the lives of the people over winning the war.

Throughout history, working-class heroes, unburdened by the negative traits often attributed to the privileged, have been celebrated and Rajamouli consistently depicts his male protagonists in this manner, endearing them to viewers and garnering support for their success.

Reincarnation

A widely cherished and frequently explored theme in Indian cinema, reincarnation has been a strong narrative element in Rajamouli’s films, with his heroes often portrayed as the reincarnations of revered figures. 

While Simhadri aka Singhamalai in Simhadri is depicted as the reincarnation of Lord Narasimha, Kala Bhairava in Magadheera is the reincarnation of the eponymous God, an avatar of Lord Shiva, and Harsha in the same movie is portrayed as the reincarnation of Kala Bhairava, whereas Sivaji in Chatrapathi (2005) is shown as the reincarnation of Maratha ruler Chhatrapati Shivaji. Similarly, in Baahubali, Mahendra is not only the son of Amarendra but also shown as somewhat of his father’s reincarnation, and both of them are akin to the real Bahubali, a revered figure among the Jains, as well, apart from the blending elements from various Hindu gods. Though not explicitly portrayed as reincarnation, towards the end of RRR, Alluri Sitarama Raju (Ram Charan) dons a look reminiscent of Lord Rama, as depicted in various paintings. In Eega (2012), on the other hand, the central character Nani is killed by the villains and reincarnates as a housefly to avenge his death.

Ram Charan and Kajal Aggarwal in Rajamouli’s Magadheera. (Image: SS Rajamouli/Facebook)

Overall, all these characters are portrayed as the rightful heirs to either the characters who previously existed in their respective stories or even gods themselves and the films focus on their quests to resolve unresolved matters from their past lives or to seek justice against those with malicious intent. Here, Rajamouli films also incorporate elements from Hindu mythology, catering to the majority of Indian viewers, and un/knowingly capitalising on the unfortunate ongoing push for saffronisation of the country.

As Rajamouli’s films delve into the concept of reincarnation, flashbacks also play a vital role, delivering a powerful and emotionally charged backstory for the protagonist(s) that significantly impacts the viewers.

A poster of Rajamouli’s Nani, Samantha Ruth Prabhu-starrer Naan Ee/Eega. (Image: SS Rajamouli/Facebook)

Familial and interpersonal bonds

One of Rajamouli’s notable strengths lies in his portrayal of relationships. While his earlier films primarily centred on father-son and romantic relationships, it was with Chatrapathi that he began delving into and depicting profound mother-son bonds. This exploration reached its pinnacle in the Baahubali films, highlighting the unbreakable connections between characters like Sivagami Devi and Amarendra, Sanga (Rohini) and Sivu (Prabhas), and Devasena (Anushka Shetty) and Mahendra.

At the same time, in Rajamouli’s world, characters who share a romantic love are portrayed as loving each other immensely, often depicted in line with the concept of “to infinity and beyond”. This approach is particularly prominent since his films often revolve around themes of rebirth, causing the characters to be separated in one life only to reunite after overcoming numerous obstacles in the next. 

Additionally, the filmmaker also places significant importance on bonds between friends and confidants, transcending blood and romantic relationships. Notable examples include Ramaraju and Komaram Bheem (NTR Jr), Kattappa (Sathyaraj) and Baahubali, and Kala Bhairava and Sher Khan (Srihari).

NTR Jr and Ram Charan on the sets of Rajamouli’s RRR. (Image: SS Rajamouli/Facebook)

Navel obsession

South Indian films have long been infamous for their fixation on showcasing navels and midriffs, a trend that has persisted for years and is evident in recent films like Pushpa: The Rise (2021). While Rajamouli’s films are not as regressive as many of their contemporaries, they also often cater to the male gaze, particularly by highlighting navels and midriffs. 

For example, his actioner Vikramarkudu (2006) has a dedicated sequence, apart from the multiple scenes later, where the female lead, Neeraja (Anushka Shetty), is made to display her midriff and navel to arouse the male lead Athili (Ravi Teja). From Student No: 1 to Baahubali, each of his films has consistently banked on this, objectifying women and reducing them to just their body parts, ensuring that male viewers “get what they want”.

Larger-than-life heroes

Last but certainly not least, and in fact, one of the most recurring and significant elements in Rajamouli’s films is the portrayal of larger-than-life heroes. Particularly because his main characters embody qualities associated with working-class heroes, elevating them to extraordinary heights provides immense satisfaction to viewers, who perceive them as relatable figures and, as a result, experience a sense of catharsis. 

Rajamouli with Prabhas and Rana Daggubati on the sets of Baahubali. (Image: SS Rajamouli/Facebook)

This is evident in the case of all his heroes — from Aditya in Student No: 1, Simhadri, Prudhvi (Nithiin) in Sye, Sivaji in Chatrapathi, ASP Vikram Singh Rathore (Ravi Teja) in Vikramarkudu, Raja in Yamadonga (2007) to an extent and Kala Bhairava/Harsha in Magadheera to Ramu (Sunil) in Maryada Ramanna (2010), Nani in Eega, Baahubali and Ramaraju and Komaram Bheem in RRR; all of these characters possess such qualities. This reached its pinnacle in the Tiger hunt and interval and climax fight sequences in RRR.

Remarkably, this is also reflected in the titles of his films, which consistently place a direct emphasis on the male protagonists, except in the case of RRR.