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India’s wild action movie RRR re-imagines real-life revolt as an epic superhero battle

From the famous 2017 “No Man’s Land” sequence Wonder Woman, Gal Gadot runs through a desolate battlefield in slow motion, deflecting German bullets with his handcuffs and magic shield. The wind ruffles her hair as she leaps over the muddy fields with her divine agility and sways behind her with the pride of her patriotism. There are similar moments. RRR (“Rise Roar Revolt”), SS Rajamouli’s hybrid action drama tells the adventures of two Indian revolutionaries who take different approaches to resist British occupation in Delhi in the 1920s. the difference is RRRIt’s just one of six such scenes.

Rajamouli’s newest over-top action glamor – the ever-popular director Bahubali Movies Available on Netflix – The myth of two historical figures: Komaram Bheem (NT Rama Rao Jr.) and Alluri Sitarama Raju (Konidela Ram Charan). In real life, Bheem was the leader of the Gondi people, working with other groups to resist landowners and mining companies encroaching on tribal lands. Meanwhile, Raju led guerrilla raids on the imperial police station and confiscated British weapons and ammunition, leveling the playing field between colonists and settlers.

this last point RRR, as part of the storyline that reconfigures Raju as a super cop on a mission to bring down Britain’s power structures from within. But compared to the fact that in the movie Raju and Bheem have superheroic agility, strength, and combat abilities, that’s a little bit of freedom. Both can expand buildings like Spider-Man, dodge bullets like Wonder Woman, and take down enemies like a pro wrestler. Representing the spirit of water, Bheem rushes into battle, counting the beasts of the forest as allies, with tigers and wolves beside him. And Raju, a symbol of fire, is driving a burning car and shooting burning arrows. Imagine Benjamin Franklin and Paul Revere joining the MCU, Franklin harnessing the power of electricity and Revere harnessing the speed of wind.

Superpowers aren’t the only ones enjoying the freedom to tell their stories. RRR explains the gap in the two men’s stories by suggesting that they became friends after a trip to Delhi in the early 1920s. Raju is Beam, an undercover imperial police officer on a rescue mission to rescue a village girl kidnapped by the colonial governor. (They never met in real life.) In the film, the two are united through each other’s courage. You are two strangers who agree to embark on a dangerous improvised rescue mission to rescue a young boy trapped in a burning train accident on a river in Delhi.

To say the least, the subtleties aren’t Rajamouli’s. So, with the theme of “fire and water”, the director takes advantage of every possible opportunity and works on slow-motion scenes that are as dramatic as possible. Is Bheem beating a silver tray from the waiter’s hand at a garden party? The tray falls in slow motion and rotates until it stops while diners watch with their eyes wide open and their jaws drooping. Raju, frustrated after losing the promotion… You can bet sweat drips from his muscular shiny shoulders and slender mid-speed mustache.

RRR In line with the dramatic shooting style, it also deals with great emotions. Betrayal, loyalty and legacy are all major themes and could be another title for the movie. spring summer season “Secret. Hallucination. Sacrifice.” Compared to typical Bollywood movies RRR no – it is telugu production), RRR It is dedicated to a relatively small amount of music and romance, and much time is devoted to the visual spectacle, gonzo action, and patriotic passion. The dynamism between Bheem and Raju has nuances of the macho bromance of 1980s John Woo films, until they transform into a team of superheroes. And Rajamouli’s cameras uncompromisingly worship these men, offering a wide range of sequences designed to arouse anticipation the first time you see the characters.

However RRR Set aside time for comedy and music in a stylized piece of mythical valor. 2 hour break between the title card appearing about 45 minutes and the break (“InterRRRmission” sorry); RRR Pause for a refreshing interlude that invites viewers to mingle with the local Bheem and Anglicized Raju as they engage in pranks and girl hunting. Raju has a friend in his hometown. His childhood friend Sita (Alia Bhatt) swore undying allegiance before leaving town to join the Imperial Indian Police. So he takes on the role of Bheem’s wingman and helps Bheem charm the friendly British lady Jenny (Olivia Morris) with his arrogant attitude and impressive dancing skills.

Shirtless NTR Jr. fires arrows through a crack in the fire wall at RRR.

Photo: DVV Entertainment

Jr NTR (a common acronym for NT Rama Rao Jr.) and two Telugu superstars, Ram Charan, showcase these skills in the thrilling “Naatu Naatu”. RRRThis is the only real music production number. (Another song “Etthara Jenda” is played over the credits, and Bheem introduces his rebellion into the song while receiving punishment for his pioneering work.) Longtime collaborator MM Keeravani of Razamuli provides the music for this number. , with title track and instrumental composition. Designed to awaken the public.

RRR It’s a busy film full of kinetic cameras, moving crowd scenes, elaborate set designs, expensive CGI, and powerful sound effects. Rajamouli is good at balancing many elements of the film, so “excessive” isn’t the right word to get angry.f RRR feeling. It’s like comfortable fatigue after a good workout.

The long running times of Indian films have been a barrier to entry for Western audiences not accustomed to spending three hours in cinemas. but times have changed RRR 10 minutes longer than baton. On the other hand, the movie is about to be released in 30 countries, but it is premised on familiarity with certain characters and iconography that are easy to miss by overseas audiences. But at the heart of it is the story of people fighting for their faith in the face of all adversity. It is a matter of patience and strength to work together towards a common goal. As with the dizzying thrill of watching the racist forces oppressing the Empire discover exactly what is happening to them, these themes are universally relevant.

RRR It is currently playing in select theaters around the world.


[Ed. note: We recommend viewers check local listings or contact the theater to make sure you’re catching the version of RRR you want to see. The film was shot in Telugu, but some theaters are running multiple screens with versions of the film dubbed into one or more of the other major Indian languages: Hindi, Tamil, Kannada, and Malayalam. A Telugu screening will give you the original voice performances with English subtitles.]


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India’s wild action movie RRR re-imagines real-life revolt as an epic superhero battle

In 2017’s famous “No Man’s Land” sequence wonder woman, Gal Gadot walks through a barren battlefield in slow motion, deflecting German bullets with his handcuffs and magic shield. The wind blows through her hair as she leaps across the muddy fields with divine agility, the score billowing behind her with patriotic pride. There is a similar moment in RRR (“Rise Roar Revolt”), SS Rajamouli’s hybrid action drama about the adventures of two Indian revolutionaries who have divergent approaches to resisting British occupation in 1920s Delhi. The difference is, in RRRit is only one of half a dozen such scenes.
The latest over-the-top action spectacle from Rajamouli – director of the much-loved Baahubali films, available on Netflix – mythologizes two historical figures, Komaram Bheem (NT Rama Rao Jr.) and Alluri Sitarama Raju (Konidela Ram Charan). In real life, Bheem was a leader of the Gondi people who collaborated with other groups to resist landlords and mining companies encroaching on tribal lands. Raju, meanwhile, led guerrilla attacks on Imperial police stations, seizing British arms and ammunition to level the playing field between colonizer and colonized.

This last point makes its way into RRR, as part of a storyline that reframes Raju as a super cop on a mission to bring down the British power structure from within. It’s a minor freedom, however, compared to the fact that in the film, Raju and Bheem have superheroic agility, strength, and fighting abilities. Both can scale buildings like Spider-Man, dodge bullets like Wonder Woman, and flip opponents like pro wrestlers. Bheem, representing the element of water, counts the animals of the forest among his allies, and bursts onto the battlefield with tigers and wolves at his side. And Raju, representing fire, drives a burning car and shoots flaming arrows. Imagine Benjamin Franklin and Paul Revere joining the MCU, with Franklin harnessing the power of electricity and Revere the speed of wind.
The superpowers aren’t the only liberties taken with their stories. RRR explains the gaps in the two men’s stories by proposing that they became friends after they each traveled to Delhi in the early 1920s – Raju as an undercover imperial cop, Bheem on a rescue mission to save a girl of the village kidnapped by a colonial governor. (They have never met in real life.) In the film, the pair bond through their mutual bravery. They are two strangers who agree with a nod to embark on a dangerous impromptu rescue mission to rescue a little boy trapped in a burning train crash on a Delhi river.
Subtlety, to put it mildly, is not Rajamouli’s thing. So the director doesn’t just take every available opportunity to hammer in the “fire and water” theme, he also works in dramatic slow-motion shots wherever he can. Bheem trips and knocks a silver tray out of a waiter’s hand at a garden party? The tray falls in slow motion and spins until it stops as guests watch with wide eyes and jaws drop. Raju hits a punching bag in frustration after being passed over for a promotion? You bet those beads of sweat beading off his muscular, glistening shoulders and dashing mid-speed mustache.
RRR also deals with big emotions to match his hyper-dramatic shooting style. Betrayal, loyalty and legacy are all major themes, and another title for the film could be SSS “Secrets. Subterfuge. Sacrifice.” Compared to a stereotypical Bollywood movie (which RRR is not – it is a Telugu production), RRR is relatively light on music and romance, devoting much of its screen time to visual spectacle, gonzo action, and patriotic zeal. The dynamic between Bheem and Raju has shades of the macho bromance of 1980s John Woo films, until it turns into a superhero team. And Rajamouli’s camera is unapologetic in its worship of these men, presenting them with extended sequences designed to elicit anticipation from viewers’ first look at the characters.
But RRR makes time for comedy and music amid his stylized feats of mythological bravery. Between the title card – which appears around 45 minutes – and the intermission (sorry, “InterRRRmission”) two hour break, RRR pauses for a breezy interlude that invites viewers to hang out with the provincial Bheem and the more anglicized Raju as they get into mischief and girl-hunting. Raju has a girlfriend back home – his childhood friend Sita (Alia Bhatt), to whom he pledged undying loyalty before leaving his village to join the Imperial Indian Police. So he acts as Bheem’s wingman, helping Bheem charm friendly English Jenny (Olivia Morris) with his aw-shucks attitude and impressive dancing skills.

Photo: DVV Entertainment
Jr NTR (the common abbreviation of NT Rama Rao Jr.) and Ram Charan, two Telugu superstars in their own right, show these skills in the thrilling “Naatu Naatu”, RRRis the only real music production number. (Another song, “Etthara Jenda,” plays over the end credits, and Bheem puts his defiance into song while being punished for his groundbreaking activities.) Longtime Rajamouli collaborator MM Keeravani provides music for these numbers. , along with a title track and instrumental compositions. designed to put the public on their feet.
RRR is a busy film, full of kinetic cameras, animated crowd scenes, elaborate set design, expensive CGI and powerful sound effects. Rajamouli is adept at balancing the film’s many elements, so “overstimulated” isn’t quite the word for how to get out of RRR feels. It’s more like the pleasant exhaustion after a good workout.
The extended running times of Indian films used to be a barrier to entry for Western audiences unaccustomed to spending a full three hours at the cinema. But times have changed and RRR is only 10 minutes longer than The Batman. On the other hand, although it is scheduled for release in 30 countries, the film assumes a familiarity with certain characters and iconographies that foreign viewers might miss. Yet at its core, this is a story of people fighting for their beliefs against impossible odds. It’s a matter of perseverance and the power to work together towards a common goal. These themes are universally relatable – as is the giddy thrill of watching the racist forces of imperial oppression get exactly what happens to them.
RRR is now playing in select theaters around the world.
[Ed. note: We recommend viewers check local listings or contact the theater to make sure you’re catching the version of RRR you want to see. The film was shot in Telugu, but some theaters are running multiple screens with versions of the film dubbed into one or more of the other major Indian languages: Hindi, Tamil, Kannada, and Malayalam. A Telugu screening will give you the original voice performances with English subtitles.]

#Indias #wild #action #movie #RRR #reimagines #reallife #revolt #epic #superhero #battle

India’s wild action movie RRR re-imagines real-life revolt as an epic superhero battle

In 2017’s famous “No Man’s Land” sequence wonder woman, Gal Gadot walks through a barren battlefield in slow motion, deflecting German bullets with his handcuffs and magic shield. The wind blows through her hair as she leaps across the muddy fields with divine agility, the score billowing behind her with patriotic pride. There is a similar moment in RRR (“Rise Roar Revolt”), SS Rajamouli’s hybrid action drama about the adventures of two Indian revolutionaries who have divergent approaches to resisting British occupation in 1920s Delhi. The difference is, in RRRit is only one of half a dozen such scenes.
The latest over-the-top action spectacle from Rajamouli – director of the much-loved Baahubali films, available on Netflix – mythologizes two historical figures, Komaram Bheem (NT Rama Rao Jr.) and Alluri Sitarama Raju (Konidela Ram Charan). In real life, Bheem was a leader of the Gondi people who collaborated with other groups to resist landlords and mining companies encroaching on tribal lands. Raju, meanwhile, led guerrilla attacks on Imperial police stations, seizing British arms and ammunition to level the playing field between colonizer and colonized.

This last point makes its way into RRR, as part of a storyline that reframes Raju as a super cop on a mission to bring down the British power structure from within. It’s a minor freedom, however, compared to the fact that in the film, Raju and Bheem have superheroic agility, strength, and fighting abilities. Both can scale buildings like Spider-Man, dodge bullets like Wonder Woman, and flip opponents like pro wrestlers. Bheem, representing the element of water, counts the animals of the forest among his allies, and bursts onto the battlefield with tigers and wolves at his side. And Raju, representing fire, drives a burning car and shoots flaming arrows. Imagine Benjamin Franklin and Paul Revere joining the MCU, with Franklin harnessing the power of electricity and Revere the speed of wind.
The superpowers aren’t the only liberties taken with their stories. RRR explains the gaps in the two men’s stories by proposing that they became friends after they each traveled to Delhi in the early 1920s – Raju as an undercover imperial cop, Bheem on a rescue mission to save a girl of the village kidnapped by a colonial governor. (They have never met in real life.) In the film, the pair bond through their mutual bravery. They are two strangers who agree with a nod to embark on a dangerous impromptu rescue mission to rescue a little boy trapped in a burning train crash on a Delhi river.
Subtlety, to put it mildly, is not Rajamouli’s thing. So the director doesn’t just take every available opportunity to hammer in the “fire and water” theme, he also works in dramatic slow-motion shots wherever he can. Bheem trips and knocks a silver tray out of a waiter’s hand at a garden party? The tray falls in slow motion and spins until it stops as guests watch with wide eyes and jaws drop. Raju hits a punching bag in frustration after being passed over for a promotion? You bet those beads of sweat beading off his muscular, glistening shoulders and dashing mid-speed mustache.
RRR also deals with big emotions to match his hyper-dramatic shooting style. Betrayal, loyalty and legacy are all major themes, and another title for the film could be SSS “Secrets. Subterfuge. Sacrifice.” Compared to a stereotypical Bollywood movie (which RRR is not – it is a Telugu production), RRR is relatively light on music and romance, devoting much of its screen time to visual spectacle, gonzo action, and patriotic zeal. The dynamic between Bheem and Raju has shades of the macho bromance of 1980s John Woo films, until it turns into a superhero team. And Rajamouli’s camera is unapologetic in its worship of these men, presenting them with extended sequences designed to elicit anticipation from viewers’ first look at the characters.
But RRR makes time for comedy and music amid his stylized feats of mythological bravery. Between the title card – which appears around 45 minutes – and the intermission (sorry, “InterRRRmission”) two hour break, RRR pauses for a breezy interlude that invites viewers to hang out with the provincial Bheem and the more anglicized Raju as they get into mischief and girl-hunting. Raju has a girlfriend back home – his childhood friend Sita (Alia Bhatt), to whom he pledged undying loyalty before leaving his village to join the Imperial Indian Police. So he acts as Bheem’s wingman, helping Bheem charm friendly English Jenny (Olivia Morris) with his aw-shucks attitude and impressive dancing skills.

Photo: DVV Entertainment
Jr NTR (the common abbreviation of NT Rama Rao Jr.) and Ram Charan, two Telugu superstars in their own right, show these skills in the thrilling “Naatu Naatu”, RRRis the only real music production number. (Another song, “Etthara Jenda,” plays over the end credits, and Bheem puts his defiance into song while being punished for his groundbreaking activities.) Longtime Rajamouli collaborator MM Keeravani provides music for these numbers. , along with a title track and instrumental compositions. designed to put the public on their feet.
RRR is a busy film, full of kinetic cameras, animated crowd scenes, elaborate set design, expensive CGI and powerful sound effects. Rajamouli is adept at balancing the film’s many elements, so “overstimulated” isn’t quite the word for how to get out of RRR feels. It’s more like the pleasant exhaustion after a good workout.
The extended running times of Indian films used to be a barrier to entry for Western audiences unaccustomed to spending a full three hours at the cinema. But times have changed and RRR is only 10 minutes longer than The Batman. On the other hand, although it is scheduled for release in 30 countries, the film assumes a familiarity with certain characters and iconographies that foreign viewers might miss. Yet at its core, this is a story of people fighting for their beliefs against impossible odds. It’s a matter of perseverance and the power to work together towards a common goal. These themes are universally relatable – as is the giddy thrill of watching the racist forces of imperial oppression get exactly what happens to them.
RRR is now playing in select theaters around the world.
[Ed. note: We recommend viewers check local listings or contact the theater to make sure you’re catching the version of RRR you want to see. The film was shot in Telugu, but some theaters are running multiple screens with versions of the film dubbed into one or more of the other major Indian languages: Hindi, Tamil, Kannada, and Malayalam. A Telugu screening will give you the original voice performances with English subtitles.]

#Indias #wild #action #movie #RRR #reimagines #reallife #revolt #epic #superhero #battle


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