It is almost pointless to ask if you have watched Baahubali 2: The Conclusion, because that coronation sequence is etched in memory. Bhallaladeva, played by Rana Daggubati, stands ready to claim the throne with everything unfolding exactly as planned. Yet, in a moment that defines the film, the narrative slips out of control. As Amarendra Baahubali, portrayed by Prabhas, is named war commander, the crowd instinctively shifts its allegiance. The ceremony continues, but the emotion has already chosen its king. What unfolds is not just spectacle, but a surge of collective feeling shaped with remarkable clarity by S. S. Rajamouli.
That very dynamic seems to have resurfaced beyond the screen with the arrival of the Rama first glimpse from Ramayana. Mounted on a staggering scale and introduced through premieres in Los Angeles and Mumbai with a carefully staged 3D presentation, the film carried the weight of enormous expectations. The initial response acknowledged its ambition and visual scope, yet the wider reception turned more measured once it reached digital platforms. While the grandeur was evident, a section of viewers felt a certain distance in the experience, as though the imagery, despite its size, lacked the texture and emotional pull needed to fully draw them in.
What followed was less a backlash and more a redirection of attention. Conversations began circling back to SS Rajamouli and his upcoming venture Varanasi, featuring Mahesh Babu. A glimpse released months earlier resurfaced in discussions, not as a direct competitor, but as a point of reference. Viewers revisited it and found themselves drawn to its detailing, its sense of place, and the ease with which its world seemed to breathe. The contrast being drawn was not about scale, but about conviction. Where one leaned on magnitude, the other appeared to rely on meticulous construction and emotional grounding.
In that sense, the parallel with Baahubali 2: The Conclusion becomes difficult to ignore. The moment, the build-up, and the spotlight may have belonged to one, but the audience response gravitated elsewhere. Even without unveiling anything new, SS Rajamouli found himself at the center of appreciation, not through noise, but through recall. It is a reminder that in cinema, attention can be commanded, but connection has to be earned, and when it is, the audience does not hesitate to show where it truly stands.