RRR: an unforgettable show review

Brofors

A true champion of mass entertainment in Telugu, so much so that he literally puts his stamp on his films, S. S. Rajamouli has accomplished the feat of winning the favor of Western cinephiles, who usually have great disdain for mainstream Indian cinema. The cynicism of Hollywood majors and programming of festivals is also not in vain (thanks to BIFFF). Therefore, not without pride the director talks about the colonial history of his country with a colossal budget and puts his traditional Manichaeism at the service of rebellious patriotism. From the first minutes, one of our heroes is protected from fire thanks to the Indian flag. Here is a note of intent.

Bhim and Ram are two polar opposites. One resistance fighter ready to do anything to save a girl from her village from the clutches of the English invaders. The other is a ruthless policeman protecting the interests of the British. Thanks to acrobatic rescue and non-verbal communication, to say the least… a technique begins between them such a bromance, which is rarely seen in the movies.

Heroes of the people

The title, voluntarily universal, sets the tone: RRR means “Rajamuli, Ram Charan and Rama Chao”, but also “Rise, roar and rebellion” (to rise, roar and riot). These more than three hours truly celebrate the uprising of the people against their oppressor. The battle is military (in flashback), intimate but above all cultural: the only true musical comedy (aside from the credits) is itself a sequence of dance confrontation, enjoyable fistfighting, everything in the percussion affirms survival and a triumph of local culture within an enclave that is doing everything to get rid of it.

Based on this warrior postulate, the director’s taste for grunt symbolism is free to express. Ambassadors of fire and water, these two accomplices, first of all, represent the two sides of India of that time, which needed to unite in order to defeat their enemies, save “their daughters and their land” and a stain – literally! – the English crown of the blood of their officers. The soundtrack takes care to explain a bit more the various characters that come across during the film, glorifying in passing epitome of pure heroism.

Photo by Ram Charan Jr NTRUltimate bromance we tell you

The director was no longer equal when it came to composing shots that instantly turn his characters, consisting of muscles and veins, into semi-divine icons. He uses the suggestive personality of his protagonists to further refine his art and take it to insane extremes. The wild scene leading up to the intermission includes several scenic visions extolling rural India and its relationship to nature for a few breathtaking seconds. And this is just the tip of a colossal iceberg.

RRR: pictureHand games…

Heroes of the first action movie

Fully wielding his powers, Rajamouli takes his invincible heroes to his lands, pure uninhibited spectacle. He and screenwriter K.V. Vijayendra Prasad happily delivers a few obligatory passages (romance, sometimes aggressive in productions of this genre, here thrown out in the middle of the film) to put everything on the effectiveness of the script, which many will envy.

Once again, the trinity of the title suggests a classic cinematic rhythm (three well-directed acts) and frames a particularly daring intro that is content to present tone, historical context and characters very simply and consistently, with three separate scenes preceded by three boxes. An admirable quest for narrative purity that betrays the ultimate goal of a feature film: maintain a devastating epic explosion at all costs.

RRR: photo, junior NTRFinally a worthy opponent!

We found it difficult to go beyond the second Baahubali in this area, but it is clear that RRR sets the bar at least as high, with a much higher degree of violence and downright insane for such a popular film, the historical intrigue obliges. Alternately representatives, avengers and martyrs of their people, Bheem and Ram must crystallize their suffering before returning their bullets to the occupier, to the point where the film has more torture scenes than singing scenes.

But when they strike back, they don’t do it halfway. Half of the footage and its delightfully chaotic turning sequence, served by a soundtrack definitely less rich in catchy themes than the soundtrack Baahubali, but pompous enough to make you subdue the tiger with your fists, the film is gradually gaining firepower. The fast camera of the director, who is now more digitally proficient than most of his American counterparts, alternating between Homeric slow motion and supersonic forward-tracking footage, captures a few moments of pure madness that we (hardly) refrain from spoiling.

RRR: picturein weightlessness

Filled with meticulous choreography, enhanced by ocher photographs of the British Senthil Kumar, interspersed with pyrotechnic effects that would have made the last Michael Bay a romantic comedy, action scenes RRR become more and more violent and spectacular. Until there’s a triple climax that surpasses just about anything popular big-budget cinema has offered us for years, where two of our colonialist killers turn into anti-gravity Rambos to forcibly widen our already weary eyes and fleetingly remind us that quality entertainment is an art in itself.

RRR: Poster

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