I’m about to start writing a RRR Review. Indian films are now being shown at a Cinemark near me. I didn’t want to sit at home tonight, so I opted to catch this one, and luck was on my side.
I confess that my perception of Indian films was that they were usually musicals centered on a love story between a very attractive young woman and a very gorgeous young guy, with plenty of intricate, high-energy dance pieces to keep things moving.
There is a love story in this picture, but it isn’t the main emphasis. There are a few enormous and extremely stunning dance performances as well, although they are few and far between. (I was amazed by the men’s dance, which was highly athletic.)
Rather, this film tells the narrative of two young men in 1920s India who are battling the English colonizers in their own unique way.
The English are depicted as a race of inhumane beasts. They frequently reminded me of the greatest Nazi crimes in France during World War II, or of the most virulent bigots in the American South. A connection is formed between the Indians and what appear to be Black American musicians the first time we see the two male protagonists dancing.
Every time the Indians manage to exact vengeance on the English for their inhumane treatment of the Indians, you cheer – but I wondered if I would have cheered if I had been in a movie theater where, as tonight, I was the only non-indigenous audience member.
Imagine Spike Lee being allowed to produce a film without having to worry about selling tickets to both whites and blacks, and you’ll get a sense of how anti-British colonials this film is. It’s the difference between a civilization where the oppressor was a small fraction of the population and one where Black people make up a minority of the population. I don’t want to go too far with this analogy. The connection is only made in one moment in the film. However, rather than a succession of dance sequences, this is a film that concentrates on the tale of a brutally oppressed people seeking liberation from an evil oppressor.
I don’t know any of the Indian languages featured in the film, but the subtitles, which were nearly always simple to read, helped me keep track of what was going on. However, I’m sure there were cultural allusions I missed, particularly at the conclusion of the show in the last big dance performance, which appeared to showcase India as a nation of many regions and traditions unified in one.
The director and cinematographer deserve a lot of credit. Especially during the fighting sequences, there was one visually stunning sight after another. It was astonishing to see Ram Charan, costumed as a “native warrior”—if that phrase still has any meaning—flying over flames.
So, if you’ve ever been interested in Indian films, give this one a go. Yes, it’s three hours long, but believe me when I say that the time flies by. This is a true action film, with a blend of visual fantasy and frequently gory realism that had my attention till the very end.
I’m about to start writing a RRR Review. RRR is the feature-length definition of S. S. Rajamouli’s ability to create cinema that transcends language and nativity barriers, eventually delivering what many try but fail to deliver: universal entertainment. If Magadheera, Eega, and the Baahubali films were just a taste of what he can do as a filmmaker, RRR is the feature-length definition of his ability to create cinema that transcends language and nativity barriers,
RRR is a gripping action drama with all the elements of a superb visual spectacle, and seeing it in 3D will only enhance the experience. RRR is epic in every sense of the word, and really Ravishing, Refreshing, and Recommendable, from huge production values to poignant emotions to excellent action moments.
Despite the fact that the film is roughly three hours long, it never seems that way. In reality, when seeing RRR, an explosive cinematic blockbuster with enjoyment for all ages despite the U/A rating, time rushes by at a breakneck pace. Apart from the fantastic performances by Jr. NTR, Ram Charan, and others, the cinematography, visual effects, and combat and dance choreography are some of the film’s primary features.
In their small but crucial parts, Ajay Devgn and Alia Bhatt dazzle. Another plus is that the music never get in the way of the tale, but rather adds to the enjoyment of the experience. Then there are the battles and stunts, which completely dominate the program and provide a lot of bang for the buck, which is just what any action fan could want.
Plus, director S. S. Rajamouli has done an excellent job portraying his film’s two protagonists, giving them equal attention so that the audience can never designate one of them the “primary hero.” The background music is also fantastic and adds a lot to the proceedings. The editing is razor-sharp, and the settings are magnificent.
RRR just confirms that S. S. Rajamouli is India’s indisputable master of historical action plays, and that other directors can learn a lot from him. I would strongly advise you to watch RRR and not to leave your seat until the very end, since you may miss some critical details. This is the purpose of cinema, and you don’t need to think too hard before purchasing your tickets.
I’m about to start writing a RRR Review. There are two extremes: high and low. No, I’m not referring to Akira Kurosawa’s 1963 Japanese film, but rather to SS Rajamouli’s RRR. Actually, that’s the best synopsis I can come up with for the film. SS Rajamouli has been creating commercial films for a long time, but Bahubali cemented his reputation across India. He established himself as a household name and a BRAND!
As a result, whatever he did following Bahubali had to be smaller or appear to be substantially less since the standard had been set too high for any director, even himself. When Prabhas followed Bahubali with “Saaho” and “Radhe Shyam,” the same thing happened. Let’s simply assume that a film like “Bahubali: The Conclusion” (2017) will never be created again.
Not only because it was a massive box office hit, but also because the type of remarkable commercial cinema it shows is very rare to find anymore. Following Gadar, I dubbed Bahubali 2 the Greatest Commercial Entertainer of the Millennium (2001). Surprisingly, these two films are the only ones that have sold 5 crore or more tickets in the Hindi belt this century.
Because Bahubali is set in an ancient age, it was appropriate to depict such heroic individuals. However, it cannot be regarded as rational in the case of RRR because the film is set in the twentieth century when you would anticipate some humanly conceivable behavior.
It doesn’t matter how huge (fictionally) your character is; when it comes to on-screen persona, it needs to make sense, since we’ve had so many famous figures throughout this time who have served the country to the last drop of their blood, and it all came with human limitations. In that sense, RRR is troublesome, yet when it comes to popular filmmaking, RRR is just wonderful.
RRR is a story set in the 1920s that is set in a fictitious world. Rama Raju (Ram Charan) and Komaram Bheem (Jr. NTR) are two Indian rebels who strive to oppose the great British Empire and the Nizam of Hyderabad in their own unique and intriguing methods. Bheem is on the hunt for a little girl kidnapped by British officer Steve (Ray Stevenson) and his wife, Lady Scott (Alison Doody), while Rama is a British cop attempting to stop him. Two powerful heroes, one fiRe and one wateR are opposed to one other, and their objectives are revealed in the second part of the novel as the plot recounts previous events.
RRR features Ram Charan and Jr. NTR in never-before-seen roles. Rajamouli ensures that their rabid mass fan base is fed enough stuff to have a large celebration in the theaters.
Ram Charan makes his debut with a 5-minute action scene that appears a touch too unusual for an ordinary mind, but isn’t that what “popular film” is all about? Jr. NTR, on the other hand, has a bizarre mass entry with a class. Your thoughts will be blown by the full woodland scenario. A word of caution to all Tarak fans: keep your expectations high, because Bheem is going to exceed them all. During all of the large-scale action moments, Rama and Bheem work together like a fireworks show.
When it comes to the supporting cast, two Hindi stars, Ajay Devgn and Alia Bhatt, play modest but significant roles. Ajay Devgn speaks with his passionate gaze once more, and the sky is blue in other news.
This dude possesses a certain amount of charm. It’s only a matter of finding a brilliant director who knows how to use it properly. Sita, played by Alia Bhatt, is stunning in every scene, and her character is pivotal to the plot. Olivia Morris’ beauty glistens on the screen, and her accent is too charming. Alison Doody is the polar opposite of that, yet the bad people do the same thing. Both Samuthirakani and Shriya Saran have minor roles in the film and do well.
RRR’s fundamental plot is on par with any Telugu action film (though some may term it dumb), but the screenplay falls short of your expectations. The second half may weary you with out-of-date melodrama and irritate you a little.
All of these shortcomings will be forgotten once you see the 3D Big-screen spectacular. RRR’s action sequences have become the gold standard for all Indian directors. Rajamouli exceeds himself in every Bahubali film he has made. Although Bahubali had battlefield analogies to aid, RRR, although being led by two people, gives a superior visual spectacle. That isn’t a trivial matter, mind you. In theaters, RRR’s song is sure to cause some excitement.
If you don’t feel like dancing while listening to “Naacho Naacho,” I recommend seeing a doctor. You are not a typical person. “Dosti” offers pleasant melodies for a situational song, while “Komuram Bheemudo” will surprise you. I’m not sure if you’ll be able to hear “Raamam Raaghavam” well because there will be a lot of noise going on, including loud cries and whistles. However, when you go home, you’ll want a second viewing.
We haven’t had a large pan-India event film in more than two years, and SS Rajamouli gives us that much-needed “Big-Screen Experience.” When it comes to commercial film, he is without a doubt India’s top director. SS Rajamouli is his name! What sets him apart from other Indian filmmakers is his amazing vision for commonplace things. Bahubali had a mediocre storyline, but Rajamouli turned it into a masterpiece.
It’s a narrative that any Indian can identify to, no matter how many parallels you discover between it and “The Lion King” or its original source material, Shakespeare’s Hamlet. Despite certain shortcomings in the writing, this is also true of RRR. But this is where Rajamouli’s brilliant thinking comes into play. He provides a high-octane mass panic that will undoubtedly drive the public insane.
A certain segment will also be pleased by the strong patriotism. SS Rajamouli has excelled himself, whether it’s in the two lead actors’ introductory moments, the railway bridge action scene, the pre-interval rampage, or the mind-boggling conclusion in the jungle. He has ascended to a level that other commercial filmmakers in Indian cinema can only aspire to.
Give this man a bad screenplay and he’ll turn it into a powerful mass entertainer. That’s precisely what he’s done with RRR. Every single spectator will applaud him for his brilliant idea of how historical action dramas should be viewed. Every director who aspires to create a great mass-market picture should study him. RRR, as a whole, delivers a powerful punch of pure commercial entertainment that we haven’t seen since the Bahubali juggernaut. You’re going to love it if you don’t mind the below-average writing.