Review of “RRR”: a unique exciting action adventure Telegu

Straight from Hollywood: “RRR,” an action-adventure epic more lifelike and bolder than in the mainstream, is strongly featured in an international release when viewers marvel at his spectacle, accept his emotions and support his music. repeatedly admired his unlimited audacity. Created by the triumvirate of the Telugu cinema of superstars N. T. Rama Rao Jr. and Rama Charan and director S. S. Rajamuli – whose combined names are one of the reasons for the name with triple consonants – the film is such an irresistible and intoxicating holiday cinematic redundancy that even after 187 minutes (including an intermission or, as the title card says, “InteRRRval”), you remain delighted, not exhausted. Which, truth be told, is hard to say about some comic book movies from two great expanded universes.

Keep in mind, there are no two main characters here supposed be superheroes. In fact, these are people of flesh and blood who came out of Indian history: Kamara Bhim, a revolutionary leader and guerrilla from the Gond tribe of British rule; and Alura Sitarama Raju, an insurgent with the same inclination who often led his ill-equipped followers during raids on police stations to acquire firearms. There is no record of the meeting of these two men in real life. But hey, if the directors ever allowed the facts to interfere with a fascinating story? Nor is there any evidence that they possess any superhuman abilities than cunning and charisma. But Rajamuli also does not allow him to be disturbed.

In the world of the 1920s, according to “RRR” – which also stands for “Rise, Roar, Revolt”, when the full title finally appears on the screen for the first time – Raju, referred to here as Ram, is fiercely determined. fire from the state of Andhra Pradesh, which is under cover as part of the British Army in hopes of arming their compatriots. At the outset, he demonstrates his false loyalty to the Crown – and more or less asserts his superhumanity – single-handedly punching, kicking, beating and otherwise beating, it seems, thousands of protesters to grab the guy who threw a stone at the police outpost. For most militants, this sequence would satisfy as an incendiary culmination. However, in “PPP” it is nothing but a curtain.

In the Adylabad forest, Bhim and his heroic worker create their own supernatural good faith by anticipating the wolf to trap the beast. Unfortunately, the wolf deduces from the equation the tiger that continues to chase Bhim. Fortunately, Bhim more than matched the big cat, even if the trap didn’t work. The tiger roars. Bhim roars in response. And if you’re lucky enough to see “PPP” in the theater as intended, the next roar you’ll hear will be the roar of the audience.

The fuse ignites for an explosive meeting of these exceptional people when British Governor Scott Buxton (Ray Stevenson) and his tougher than Cruella’s wife Catherine (Alison Doody) are sent to a slum in the village of Gond – accompanied, of course, accompanied by a contingent of heavyweights. Catherine is fascinated by a little girl named Mali (Twinkle Sharma) and claims to be a child as a fun toy to entertain guests at their posh home in Delhi. It doesn’t get along with the child’s mother – or with anyone else in the village, for that matter – but Buxton has enough muscular strength to fulfill his wife’s iron whim. He is not shot at anyone just because he does not want to spend expensive bullets on “brown rags”.

At this point, you may be tempted to shout rude things at the screen. But fear not: Bhim vows to go to Delhi and with the help of locals get to Mali. The British authorities did not receive long news of Bhima’s imminent arrival – and Rama needed even less time to voluntarily find and arrest a potential troublemaker. But fate (along with the shamelessly invented script of Rajamuli and co-authors Sai Madhawa Bura and KV Vijaendra Prasad) throws both men on a curve when everyone sees a boy trapped in the Delhi River and burning railroad cars fall into the water around him. Both men rush to a conveniently located bridge – Ram on horseback, Bhim on a motorcycle – and improvise a rescue detailed in another stunning set.

And it all happens in the first 40 minutes of the film.

It would be unfair to scatter more and spoil any entertainment by giving additional plot details or scene descriptions. (Just wait until you see what Bhim is doing with a truck of inhuman destroyers.) Suffice it to say that Bhim and Ram form a deep friendship, knowing neither the true identity of the other nor grandiose plans, and they love each other’s company as long as they don’t give up and then they do again. There are two delightful energy songs and dances where the guys admire their brahmanas and they play like Stanley Donen’s feverish dreams, directing a remake of the action movie “Singin’ in the Rain ”.

Widely known as NTR Jr., Rama Rao Jr. is effective and sympathetic as an ordinary, seemingly ordinary person who achieves the extraordinary by becoming an iconic hero. (He also gets a few laughs, especially during Bhima’s shy but secretive affair with the British beauty, played by Olivia Morris.) Better yet, he has sensational chemistry with the more conditionally brilliant Ram Charan. It may be an exaggeration to assume that Charan behaves with authority and confidence in the deity – that is, if he does not suffer physically or emotionally – but if Ram “borrows” a bow and arrow from Lord Rama’s statue, it seems less an act of sacrilege than an example of professionalism. courtesy.

The echoes of John Wu are rich in “PPP” as the themes of fidelity, betrayal, and changing identity are constantly sounded, providing a powerful anchor of seriousness and deadly stakes during the most fantastic battles, flights, and feats. Sometimes your mind can tell you, “This is absurd!” However, every time this happens, your heart will respond, “So what? Give more! ”

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