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Baahubali: The Epic
Movie

Baahubali: The Epic

2025 • Action, Drama

Woke Score
2
out of 10

Plot

A legendary warrior emerges from humble beginnings to challenge powerful forces threatening his homeland, as ancient prophecies and family bonds shape his journey.

Overall Series Review

Baahubali: The Epic is a faithful re-cut of a blockbuster Indian film that largely adheres to the principles of a classical heroic epic. The narrative centers on a traditional, universal 'chosen one' story, emphasizing character merit, personal honor, and the defense of one's homeland, directly contravening the core tenets of 'woke' ideology. The film is a celebration of its own grand cinematic and cultural heritage (Oikophobia: 1/10) and is deeply rooted in mythological and spiritual concepts of justice and destiny (Anti-Theism: 1/10). The central conflict is one of good vs. evil and rightful succession, not race or immutable characteristics (Identity Politics: 2/10). The only notable deviations from a complete absence of 'woke' themes arise from a traditional cinematic gaze and cultural setting. While it features exceptionally powerful female characters (Sivagami, Devasena) who assert their agency, the film has been criticized for maintaining a persistent 'male gaze' and patriarchal elements, such as one romantic subplot that involves a hero 'reforming' a female rebel through an unsolicited makeover. However, this is traditional sexism and male-gaze presentation, not modern 'Girl Boss' anti-male or anti-natalist feminism (Feminism: 3/10). There is no presence of LGBTQ+ or gender ideology messaging (LGBTQ+: 1/10). Overall, the movie operates entirely outside the framework of contemporary Western identity politics, delivering a visually spectacular story focused on timeless morality and cultural pride.

Categorical Breakdown

Identity Politics2/10

The conflict is based on universal merit (Amarendra Baahubali's character and leadership) versus the villain's (Bhallaladeva) greed and lack of honor. The hero's merit is the central theme. The film’s large-scale casting is historically and culturally authentic (Indian epic, Indian cast) without any political 'race-swapping.' The only factor preventing a 1/10 is the depiction of the Kalakeya tribe, who are portrayed as a savage, non-humanoid, and purely evil antagonist force, which is a form of ethnic othering/stereotyping.

Oikophobia1/10

The film is a towering example of cultural pride and national cinema. It is an epic-fantasy celebration of a fictional kingdom (Mahishmati) and the glorious heritage of its royal family, architecture, warfare, and culture. The hero’s mission is to *restore* the corrupted institutions and honor his ancestors' sacrifices. It is the antithesis of civilizational self-hatred.

Feminism3/10

The score is low, but not 1/10. Powerful female characters, notably Sivagami (the reigning Queen Mother) and Devasena (the warrior princess), are central, complex, and display great strength and moral authority, even challenging patriarchy (Devasena's right to choose her husband). However, critics have noted the film's pervasive 'male gaze' and one subplot where a female warrior (Avanthika) is objectified and only 'unlocked' by the hero's romantic attention. This is a traditional male-centric presentation, not modern 'Girl Boss' rhetoric, and the value of a protective masculinity and motherhood is consistently upheld (e.g., Sivagami's ultimate sacrifice to save the heir).

LGBTQ+1/10

This theme is entirely absent. The primary romantic and family structures are exclusively male-female, adhering to the traditional, normative family unit (father, mother, son, uncle, queen-mother, etc.) as the standard framework for the royal drama. There is no presence of gender ideology or queer theory lecturing.

Anti-Theism1/10

The narrative is a mythic epic built upon destiny, prophecy, and higher moral law that draws heavily from classic Indian epics like the *Mahabharata*. The protagonist's struggle is to enforce Objective Truth and morality against the villain's amoral lust for power. Faith, dharma (righteous conduct), and moral absolutes are the engine of the plot, placing it firmly at the opposite end of moral relativism and anti-theism.