Modern Masters: SS Rajamouli review: Endearing but riskless portrait of the blockbuster filmmaker

With the help of noted film journalist Anupama Chopra (Film Companion Studios’ maiden production), Modern Masters: SS Rajamouli unfolds briskly at a 74-minute runtime. The documentary feature doesn’t make two ways about its intent and announces right at the beginning that it wholeheartedly celebrates its subject’s legacy thus far. From Karan Johar, an unabashed fan of Rajamouli’s oeuvre, terming him the biggest filmmaker in Indian cinema to Hollywood megastar James Cameron going on to credit his Indian counterpart with creating his own filmmaking syntax, and countless other plaudits along the way, the feature runs a risk of being a tad too flattering of its subject.

Unprovocative in its approach

Yet, it doesn’t refrain and instead doubles down on the praise and quite gleefully relays many glories of his style and sensibility that have won him accolades not only in India, but also overseas. Barring an occasional remark on the criticism of his alleged casteist and sexist gaze — particularly in the two Baahubali movies — Modern Masters: SS Rajamouli remains relatively safe and unprovocative in its approach.

The making of the Baahubali saga, fittingly, then becomes an integral chapter in the telling. That SS Rajamouli consistently aspired to outdo himself with each endeavour is known to be one of his best traits and the feature attempts to take us close to his process, letting the many players recount stories of his tenacity and commitment to his craft. The two-part film, released separately in 2015 and 2017, went on to be a game-changer in how South Indian cinema was perceived across India and beyond but the journey to getting to that pinnacle was a testing period for the man.

The small portion also fascinatingly sheds some light on how cinematic classics aren’t simply made but rather forged through sincerity and serendipity, meaning that aside from talent, wisdom and effort, a monumental success such as this also comes with its share of mystique. In that vein, one would have liked the nuances of this story to be discussed with more depth and leisure instead of hurrying through them.

Consequently, when SS Rajamouli is pulled up for his apparent objectification of Tamannaah Bhatia’s character Avantika in Baahubali: The Beginning, the filmmaker can be sensed growing slightly defensive about the matter. He offers a careful response, no doubt, but his explanation of intentionally playing to the gallery and that the entire design of the scene (in which Prabhas’ Shivudu ‘beautifies’ a dishevelled Avantika without her asking for it) was to invite audiences into the story may not put things in perspective for some. Similarly, his closing statement that those criticising his purpose behind the treatment of the said character do not understand drama or storytelling might also seem pretty offhandish, especially coming from the discerning mind of Rajamouli.

A lighthearted watch, up to snuff

The 50-year-old filmmaker’s personal life too comes into focus and makes up for arguably the most absorbing portion of the narrative. Many would be aware of the fact that SS Rajamouli prefers to have his family collaborate with him closely because they understand the essence of his grand vision. His father, V. Vijayendra Prasad, is credited as the story-writer of most of his films whereas his cousin M.M. Keeravani, who went on to win the Oscar for RRR’s Naatu Naatu, has served as the music composer on all of them. His wife, Rama Rajamouli, has worked as the costume designer with his older son Karthikeya and sister-in-law M.M. Srivalli serving as line producers on all his recent mega-hits. Modern Masters does a fine job of bringing all these, along with a few more, instrumental forces to the fore and helps us gain an insight into how a filmmaker of Rajamouli’s stature likes to function.

Another fascinating dimension to this chapter is the glimpse of his childhood. SS Rajamouli speaks (in passing) of his mother’s influence on him while also sharing many snatches from the days of his father and uncle (Koduri Siva Sakthi Datta, MM Keeravani’s father) toiling their hardest to make and release their films. The duo would almost always encounter failure in those days — Keeravani himself shares an incredible story from those times — and it is evident that those tribulations impacted SS Rajamouli, who saw and soaked it all up as a young boy. Indeed, a vital part of his founding, this segment manages to help us realise just how far he has come from those days and how his most trusted associates, his own family members, have stood by him throughout.

Should the makers of Modern Masters have dug deeper into this aspect of his life? A definite yes. And should the feature, in general, have given more significance to the personal and psychological makeup of its subject? Another strong yes. Although the episode (I am assuming there will be more from the potential series) is meant for a lighthearted watch and it works quite well in that regard, one major gripe would be that it communicates to us what we mostly are already aware of. It is the stuff of legend that SS Rajamouli is one of the most dedicated and hands-on filmmakers of the current era and that his strife for perfection knows no bounds. So, when all the talking heads — from Jr NTR, Ram Charan, Prabhas and Rana Daggubati to Joe Russo himself — tell us what they think of the man, it all seems a little — for lack of a better word — repetitive. Still, should you be in the mood for something short and sensible, this one’s up to snuff.