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RRR Review: True Cinematic Experience with Exhilarating performances

on Mar 25, 2022

There's a vibe in the air! RRR, SS Rajamouli's long-awaited magnum opus that has sparked widespread excitement from its start, is currently in theatres. The epic period drama released on Friday. The film stars Ram Charan and Jr NTR, two of Tollywood's top actors. RRR is Rajamouli's fourth collaboration with Tarak, following Student No. 1 (2001), Simhadri (2003), and Yamadonga (2007), and his second with Charan, after their 2009 film Magadheera.

The latest film is supported by DVV Danayya under DVV Entertainments and is available in Telugu, Tamil, Kannada, Hindi, and Malayalam. RRR also has guest appearances by Bollywood celebrities Alia Bhatt and Ajay Devgn.

Story: Set during the rule of the British Empire. The paths they have chosen to achieve their goals and their transformation as complete leaders during the process form the full story. One is attempting to bring their tribe's kid abducted by British back into flock, while the other is attempting to fulfil his promise to his dead father and bring freedom to our country.

Analysis: Script and Direction Director SS Rajamouli and writer Vijayendra Prasad have hit a home run with RRR. The picture contains all of the components essential for a period drama, including emotions, visuals, action, romance (to an extent), and, most significantly, heroism. Bringing two Tollywood superstars on board and balancing their roles, dialogues, and performances is a difficult task. The script is simple and crafted in such a way that it captures the essence of the era while allowing the leading guys to shine in their roles. The bromance of the two is the highlight of the entertainer. Rajamouli has knocked it out of the park with his new movie, as his direction is just outstanding. The female characters (Alia Bhatt, Olivia Morris, and Shriya Saran) are not mere sidekicks in this film, as they are in every other Rajamouli film. There are some sluggish moments, particularly in the first half, but the director and writer make up for it by coming back strong each time.

Performances NTR wowed everyone with his intense action sequences. He displayed strong emotions, striking a connection with everyone. With his ferocious screen presence, he enhanced the scenes.

In the role of Ramraju, Ram Charan appeared royal and macho. He played his part with passion, dedication, and commitment. The moments starring NTR and Ram Charan turned out to be the film's highlights. All moviegoers were enthralled by Rajamouli's treatment of their friendship and misunderstanding. The introductions of NTR and Ram Charan, as well as their combo scenes, whether stunts or dancing movements, worked brilliantly on the screen.

Alia Bhatt as Sita (Ram Charan's love interest) fits in well with the story, but a little extra screen time wouldn't have hurt. Ajay Devgn has played his part perfectly, and his persona of a fierce freedom fighter is too good to miss.

Technical Department: Rajamouli's father, Vijayendra Prasad, has penned a wonderful storyline for RRR. On the film, the relationship between the characters Komaram Bheem and Alluri Sitarama Raju is delightful to watch. The graphics and cinematography are superb. Senthil Kumar, the cameraman, and Sabu Cyril, the art director, have done a wonderful job of capturing and providing electrifying moments. It's wonderful how they recreated 1920s Delhi and presented it so nicely. The intermission bang and climax action scenes are RRR's plus points, revealing Rajamouli's international standards of making with exciting action episodes. Rajamouli gets the emotions just right. All of the songs are excellent. The audience's hearts were captured by Janani's song. The friendship song Dosti and the dance number Naatu Naatu are great on screen. MM Keeravani’ BGM is appealing and elevating scenes.

Rajamouli's RRR established a new multi-starrer trend in Tollywood. He demonstrated that films with top stars can be made without love plotlines between the heroines. As previously said, RRR began with a simple premise but evolved into an action-packed multi-starrer featuring explosive scenes for both leads. The storyline and direction by Rajamouli are simply outstanding.

Verdict RRR has the right amount of freshness and potency. This emotionally packed picture is intended for individuals who appreciate cinema as a visual medium. The eye-catching visuals, riveting stunts, electrifying energy, pure brilliance of the plot, sterling performances, and, of course, the two eye candies- Ram Charan and Jr NTR- make the period drama a spectacular one, moulded into perfect shape by SS Rajamouli.

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RRR Movie Review : Rajamouli delivers a power-packed entertainer

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RRR - Official Trailer (Telugu)

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RRR - Official Trailer (Tamil)

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RRR | Telugu Song - Naatu Naatu (Lyrical)

RRR | Malayalam Song - Karinthol (Lyrical)

RRR | Tamil Song - Naattu Koothu (Lyrical)

RRR | Kannada Song - Halli Naatu (Lyrical)

RRR | Hindi Song - Naacho Naacho (Lyrical)

RRR - Motion Poster

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RRR - First Glimpse

RRR | Song Promo - Karinthol

RRR | Song Promo - Naattu Koothu

RRR | Song Promo - Halli Naatu

RRR | Hindi Song - Janani

RRR | Hindi Song - Sholay

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Rohit Kumar 88 days ago

♥️♥️❤️

vsudharshanreddy 272 days ago

Excellent �� movie

Basha Elaganuru 292 days ago

Rishitborra 536 days ago.

Felt above average but not up to the mark and I still think why Rajamouli took few years to Direct a normal film... Rajamouli's previous projects are even good than these...

sesank 600 days ago

Super movie

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RRR Review: ఆర్‌ఆర్‌ఆర్‌ మూవీ ఎలా ఉందంటే..

Published Fri, Mar 25 2022 11:14 AM | Last Updated on Fri, Mar 25 2022 6:47 PM

టైటిల్‌ : రౌద్రం రణం రుధిరం(ఆర్‌ఆర్‌ఆర్‌) నటీనటులు : ఎన్టీఆర్‌, రామ్‌చరణ్‌,అజయ్ దేవ్‌గణ్‌, ఆలియా భట్‌, శ్రియా శరణ్‌,  ఒలివియో మోరీస్, రే స్టీవెన్ సన్, అలిసన్ డూడీ, రాజీవ్‌ కనకాల, రాహుల్‌ రామకృష్ణ తదితరులు నిర్మాణ సంస్థలు : డీవీవీ ఎంటర్‏టైన్మెంట్స్, పెన్ స్టూడియోస్ నిర్మాత: డీవీవీ దానయ్య  దర్శకత్వం : ఎస్‌.ఎస్‌. రాజమౌళి కథ: విజయేంద్ర ప్రసాద్‌ సంగీతం : ఎం.ఎం. కీరవాణి సినిమాటోగ్రఫీ : సెంథిల్‌ కుమార్‌ ఎడిటర్‌ : అక్కినేని శ్రీకర్‌ ప్రసాద్‌ విడుదల తేది : మార్చి 25,2022

యావత్‌ సినీ అభిమానుల్లో ఆసక్తి రేకెత్తించిన చిత్రం రౌద్రం.. రణం.. రుధిరం.. (ఆర్‌ఆర్‌ఆర్‌). బాహుబలి లాంటి బిగ్గెస్ట్‌ బ్లాక్‌ బస్టర్‌ తర్వాత రాజమౌళి దర్శకత్వం వహించిన చిత్రం కావడం, ఎన్టీఆర్, రామ్ చరణ్ మల్టీస్టారర్ గా  తెరకెక్కడంతో ఆర్‌ఆర్‌ఆర్‌పై  ప్రేక్షకుల్లో భారీ అంచనాలు నెలకొన్నాయి. కరోనా కారణంగా పలుమార్లు వాయిదా పడిన ఈ చిత్రం ఎట్టకేలకు ఈ శుక్రవారం(మార్చి 25) ప్రేక్షకుల ముందుకు వచ్చింది. ఇప్పటికే విడుదలైన పోస్టర్లు, టీజర్లు, పాటలు​ సినిమాపై పాజిటీవ్‌ బజ్‌ను క్రియేట్‌ చేశాయి. దానికి తోడు ప్రమోషన్స్‌ కూడా గ్రాండ్‌గా నిర్వహించడంతో ‘ఆర్‌ఆర్‌ఆర్‌’పై భారీ హైప్‌ క్రియేట్‌ అయింది. భారీ అంచనాల మధ్య ప్రేక్షకుల ముందుకు వచ్చిన ‘ఆర్‌ఆర్‌ఆర్‌’ని ప్రేక్షకులు ఏ మేరకు ఆదరించారో రివ్యూలో చూద్దాం.

RRR కథేంటంటే.. ఆర్‌ఆర్‌ఆర్‌ కథంతా 1920 ప్రాంతంలో జరుగుతుంది. అప్పటి బ్రిటీష్‌ ప్రభుత్వంలో విశాఖపట్నానికి చెందిన రామరాజు(రామ్‌ చరణ్‌) పోలీసు అధికారిగా పని చేస్తుంటాడు. పదోన్నతి కోసం పై అధికారుల ఆదేశాలనుగుణంగా పని చేస్తుంటాడు. మరదలు సీత(ఆలియా భట్‌), గ్రామస్తులకు ఇచ్చిన మాట నెరవేరాలంటే.. ఆయన పదోన్నతి పొందాల్సిందే. అందుకే దాని కోసం స్వాతంత్య్ర పోరాట యోధులపై కూడా దాడి చేస్తాడు. మరోవైపు గవర్నర్‌ స్కాట్‌(రే స్టీవెన్ సన్) ఓ సారి ఫ్యామిలీతో కలిసి  ఆదిలాబాద్‌ పర్యటనకు వచ్చినప్పుడు.. అక్కడ గోండు జాతికి చెందిన బాలిక మల్లిని తమతో పాటు ఢిల్లీకి తీసుకెళ్తాడు. తమ బిడ్డని తీసుకెళ్లొద్దని అడ్డుకున్న కుటుంబ సభ్యులపై దాడి చేయిస్తాడు. ఇది అన్యాయం అని భావించిన గోండు జాతి బిడ్డ భీమ్‌ (ఎన్టీఆర్‌).. ఎలాగైన మల్లిని తిరిగి తీసుకురావాలని భావిస్తాడు. తన స్నేహితులతో కలిసి ఢిల్లీకి వెళ్తాడు. పకడ్బందీ బందోబస్తు ఉన్న బ్రిటీష్‌ కోటలోకి భీమ్‌ ఎలా వెళ్లగలిగాడు? అక్కడే పోలీసు అధికారిగా ఉన్న రామరాజు, ఎన్టీఆర్‌ ఎలా స్నేహితులు అయ్యారు? ప్రాణ స్నేహితులుగా ఉన్న వీరిద్దరు ఒకరిపై ఒకరు ఎందుకు దాడి చేసుకున్నారు? అసలు రామరాజు తన మరదలు, గ్రామస్తులకు ఇచ్చిన మాట ఏంటి? అతని నేపథ్యం ఏంటి? శక్తిమంతులైన ఈ ఇద్దరు కలిసి బ్రిటీష్‌ ప్రభుత్వాన్ని ఎలా గడగడలాడించారు?అనేదే మిగతా కథ.

(చదవండి:  ఆర్‌ఆర్‌ఆర్‌ కోసం జక్కన్న తీసుకున్న రెమ్యునరేషన్‌ ఎంతంటే. .)

ఎలా ఉందంటే..? రాజమౌళి ఏ సినిమా చేసినా ప్రేక్షకులు సంతృప్తి పడే వరకు తీయడం అలవాటు. అందువల్లే బాహుబలి కోసం ఐదేళ్లు పట్టింది. అయితే ఆర్ఆర్ఆర్ విషయంలోనూ అదే జరిగింది. దాదాపు నాలుగేళ్ల పాటు ఈ సినిమా కోసం శ్రమించాడు రాజమౌళి. ఆయన కష్టమంతా తెరపై స్పష్టంగా కనిపిస్తోంది. ఓ చిన్న పాయింట్‌ని కథగా ఎంచుకొని,దానికి భావోద్వేగాలు రంగరించి, కథనాన్ని నడిపించిన తీరు బాగుంది. గిరిజన బాలికను బ్రిటీష్‌ సైన్యం ఎత్తుకెళ్లే ఓ ఎమోషనల్‌ సీన్‌తో కథ మొదలవుతుంది. నీరు, నిప్పు అంటూ ఎన్టీఆర్‌, రామ్‌ చరణ్‌ల పాత్రలను పరిచయం చేశారు. అందుకు తగ్గట్టే బలమైన సన్నివేశాలతో ఫస్టాఫ్‌ సాగుతుంది. ఇద్దరు హీరోలు కలిసే సీన్‌ని కూడా అద్భుతంగా చిత్రీకరించారు. ఇక ఇంటర్వెల్‌ సన్నివేశం అయితే.. సినిమాకే హైలెట్‌. బ్రిటీష్‌ కోటలోకి ఎన్టీఆర్‌ వెళ్లే సన్నివేశం గూస్‌బమ్స్‌ తెప్పిస్తాయి. ఫైట్‌ సీన్‌తో చాలా ఎమోషనల్‌గా ఫస్టాఫ్‌ ముగుస్తుంది.

ఇక సెకండాఫ్‌లో అజయ్‌దేవ్‌గణ్‌, శ్రియల ఎంట్రీ.. కథను మరో లెవల్‌కు తీసుకెళ్తుంది. భీమ్‌ని అరెస్ట్‌ చేసి శిక్షించే సన్నివేశం అయితే కంటతడి పెట్టిస్తుంది. ‘కొమరం భీముడో.. కొమరం భీముడో’అనే పాట హృదయాలను హత్తుకుంటుంది. ఆ తర్వాత కథ కొంత స్లోగా సాగుతుంది. ఇక భీమ్‌, రామ్‌ కలిసిన తర్వాత వచ్చే ఫైట్‌ సీన్స్‌ మరో లెవల్‌. అయితే జైల్లో ఉన్న రామ్‌ని తీసుకురావడానికి భీమ్‌ వెళ్లే సీన్‌, అతన్ని ఎక్కడ ఉన్నాడో​ కనుక్కునేందుకు శబ్దం చేయడం లాంటివి కాస్త సినిమాటిక్‌గా అనిపిస్తుంది. ఇక క్లైమాక్స్‌ ‘నక్కల వేట ఎంత సేపు.. కుంభ స్థలాన్ని బద్దలు కొడదాం పదా’ అంటూ ఇద్దరు కలిసి బ్రీటీష్‌ కోటపై దాడి చేసిన తీరు అందరిని మెప్పిస్తుంది.

ఎవరెలా చేశారంటే.. ‘యుద్దాన్ని వెతుక్కుంటూ ఆయుధాలు వాటంతట అవే వస్తాయ్‌’.. ఆర్‌ఆర్‌ఆర్‌ చిత్రంలో హీరోల పాత్రల గురించి అజయ్‌ దేవ్‌గణ్‌ చెప్పే డైలాగ్‌ ఇది. ఈ డైలాగ్‌ ఆర్‌ఆర్‌ఆర్‌లోని నటీ, నటులందరికి సరిపోతుంది. ప్రతి ఒక్కరు ఒక ఆయుధంగా పని చేశారు. భీమ్‌గా ఎన్టీఆర్‌, రామరాజుగా రామ్‌ చరణ్‌.. తమతమ పాత్రల్లో ఒదిగిపోయారు. ప్రతి సీన్‌లోనూ నువ్వా నేనా అన్నట్లుగా పోటాపోటిగా నటించారు. వీరిద్దరి మధ్య వచ్చే పోరాట ఘట్టాలు అయితే సినిమాకే హైలైట్‌ అని చెప్పొచ్చు.

నాటు నాటు పాటకు ఈ ఇద్దరు హీరోలు వేసిన స్టెప్పులు అయితే థియేటర్స్‌లో ఈలలు వేయిస్తాయి. ఈ సినిమా కోసం తారక్‌, చెర్రి పడ్డ కష్టమంతా తెరపై కనిపిస్తోంది.  ఇక సీత పాత్రలో ఆలియా భట్‌, జెన్నీఫర్‌ అనే బ్రిటీష్‌ యువతిగా ఒలివియా తమ తమ పాత్రల్లో ఒదిగిపోయారు. వెంకట రామరాజు అలియాస్‌ బాబాగా అజయ్‌ దేవ్‌గణ్‌, అతని భార్య సరోజిగా శ్రియ.. ఉన్నంతలో పర్వాలేదనిపించారు. వీరి పాత్రల నిడివి తక్కువే అయినా.. సినిమాకు అవి కీలకంగా ఉంటాయి. విలన్‌ స్కాట్‌ పాత్రలో రే స్టీవెన్ సన్, అతని భార్యగా అలిసన్ డూడీ తనదైన నటనతో మెప్పించారు. రామరాజు బాబాయ్‌గా సముధ్రఖని, భీమ్‌ స్నేహితుడు లచ్చుగా రాహుల్‌ రామకృష్ణ తమ పాత్రలకు న్యాయం చేశారు. 

ఇక సాంకేతిక విషయాలకొస్తే.. ఈ సినిమాకు మరో ప్రధాన బలం ఎమ్‌ ఎమ్‌ కీరవాణి సంగీతం. పాటలతో పాటు నేపథ్య సంగీతం అదిరిపోయింది. తనదైన బీజీఎంతో కొన్ని సీన్స్‌కి ప్రాణం పోశాడు. సెంథిల్‌ కుమార్‌ సినిమాటోగ్రఫి చాలా బాగుంది. రాజమౌళి ఊహించుకున్న ప్రతి సీన్‌ని తెరపై అద్భుతంగా చూపించాడు. సాల్మన్‌ పోరాట ఘట్టాలు సినిమా స్థాయిని పెంచాయి. 1920నాటి కథకు జీవకళ ఉట్టిపడేలా సెట్స్‌ని తీర్చిదిద్దాడు ప్రొడెక్షన్‌ డిజైనర్‌ సాబు సిరిల్‌. సాయి మాధవ్‌ బుర్రా మాటలు.. తూటాల్లా ఉన్నాయి.  అక్కినేని శ్రీకర్‌ ప్రసాద్‌ ఎడిటింగ్‌ బాగుంది.  డీవీవీ ఎంటర్‏టైన్మెంట్స్ నిర్మాణ విలువలు సినిమా స్థాయికి తగినట్లుగా ఉన్నాయి. 

- అంజి శెట్టె, సాక్షి వెబ్‌డెస్క్‌

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RRR Movie Review (2022)

Ss rajamouli's ‘rrr” is an entertaining masala epic with great star turns, but deeper emotions might have made this even better.

RRR Movie Cast & Crew

Rajamouli's cinema is not just masala cinema but also mythological cinema. So he shapes Komaram Bheem like the Bheema from mythology, and Alluri Sitarama Raju like Lord Ram.

SS Rajamouli's much-awaited mega-epic: RRR , is set in 1920s India. The film stars NTR Jr as Komaram Bheem and Ram Charan as Alluri Sitarama Raju. These are real-life revolutionaries but RRR is not real. It is what you'd call historical fiction.

RRR may have three words in its title, but it is a movie of twos. There are two heroes, both of whom are in top form. There's NTR Jr, who is defined by water. He is an innocent man from the Gond tribe. The feelings in his face are as clear as water but when required, he can turn into a tsunami. And then there is Ram Charan as Ram, who is defined by fire. He smoulders inside and you don't want to be anywhere near him when he rages. But when required, he can be a matchstick flame, spreading gentle warmth, like he does when he becomes friends with NTR Jr.   The story is about their friendship - but with a twist. After all, can fire and water really be friends? But both have a mission, which remains separate till the end. The only thing is that both missions involve the British.   There is a superb scene where a man picks up a grenade with his arrow and fires it as a missile. We have seen arrows before. We have seen grenades before. But have you seen both together? That is a perfect metaphor for SS Rajamouli. He takes plots and events we have already seen – that's the arrow – and he attaches a grenade to it. That grenade is his secret touch, which makes the scene on paper look magnificent on screen.   Take the scene where NTR Jr and Ram Charan become friends. Now Ram Charan has been introduced in a scene involving fire and NTR Jr has been introduced in a scene by a river, water. But when they come together as friends, the scene involves both fire and water. And afterwards, they don't just shake hands. They clasp their arms while swinging in mid-air.

This is one example of the Rajamouli grenade. Very few in India understand masala cinema like him, and fewer still take it as seriously as he does. Because see the interval portion, where the friends turn foes. It is staged very similarly to the scene where they became friends. They are still holding hands and one of them is hanging in mid air. In masala cinema, this is called an echo moment – and RRR is filled with these echo moments. 

After a dance scene, Ram carries Bheem on his shoulder. And when the reverse happens - i.e., when Bheem carries Ram on his shoulders - it is a war scene. A man backstabs someone. Later, this man is backstabbed by a tree, which is treated like a person – because a little earlier, we have seen a leaf fly by and caress the wounds of a man like a nurse in a hospital.

I spent half the movie marvelling at the fact that thank god there is still one industry that takes masala cinema seriously, without reducing it to MASS cinema, which is more about fans and star worship.

I said this is a movie of echoes, right – so along with two heroes, we get a scene with two coins, we get scenes with two religions (Hindu and Muslim), we get two men and their two missions, we get a necklace that is broken into two. And we get two halves that are perfectly structured. The first half makes us sympathise with NTR Jr and the second half makes us sympathise with Ram Charan, whose character is written like a robot.

And my favourite stretch in the film is the one that shows us how he became such a robot-like man. We go back to his childhood and in a stunning scene, his father doesn't let him mourn a tragedy. He just asks the boy to concentrate on his mission. And here too there is the image of clasped hands. The boy makes a promise to his father, putting his small hand in his father's hand. Ajay Devgn plays the father and he is excellent in what could be called a cameo role. Alia Bhatt is there in a cameo too. Her role is shorter than her first name.

Rajamouli's cinema is not just masala cinema but also mythological cinema. So he shapes Komaram Bheem like the Bheema from mythology, whose strength was legendary. He can roar back at a tiger and even pick up a motorbike with his bare hands, and he is given the moment where Hanuman tells Ram that he has seen Sita. After all, Bheem was Hanuman's brother. 

And Alluri Sitarama Raju is literally Ram. He uses a bow and arrows. He has a fiancee named Sita, and another girl is kidnapped like Sita was, he has been on a vanvas for four years, away from his home, and the British empire is referred to as Lanka. So in a way, RRR is the story of the British as asuras and how two devas saved India. The cinematography is by Senthil Kumar and the framing is often spectacular. Ram Charan's intro scene is a one versus many fight and it is shot so cleanly and clearly that it almost makes you believe. That is the whole point right? Make-believe?

Despite the three-hour running time, I was never bored but I wished the film had been so much more. Mainly, I wished there had been more emotional moments – not just between Ram and Sita but also Ram and Bheem. They get a fun song, a great dance sequence and some comedy with a Britisher named Jenny – but this friendship needed to be established deeper for us to feel the full weight of the second half. Right now, it just looks like a series of action scenes. Even in the first half, a betrayal would have meant more had the emotions been stronger.

But then I look back at the interval scene and the way it tickles both the child and the adult in you. Just wait till you see what emerges from a truck. My eyes practically popped out, and I was reminded of how SS Rajamouli keeps talking about Amar Chitra Katha. RRR could have been better, but it's one-of-a-kind and certainly something you want to see on a big screen.

Verdict: A one-of-a-kind epic that certainly a big-screen experience

Galatta Rating: ( 3.25 /5.0 )

About author.

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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RRR Movie Review: A Celebration Of Outrageous Ideas That Mostly Works

Cast: Junior NTR, Ram Charan, Alia Bhatt

Director: S.S. Rajamouli

A group of men belonging to the Gond tribe in Adilabad are planning to attack the palace of a British general in Delhi. On the British side, there are police officers, guns, ammunition, and a hundred other items that could count as weapons.

And on the side of the men of the tribes led by Komaram Bheem (NTR Jr) all they have is a truck and a few scrawny men who believe in Bheem. They are also far from home and relatively cornered alone in an unfamiliar part of the world. You begin to wonder how they will attack without getting caught. Surely Bheem is not so naïve that he can't figure out he is going to get caught if he charges at the palace. Or is Rajamouli going to cater to fans and probably have NTR Jr bulldoze his way through the crowd?

And then the film reveals Bheem's real plan with the massiest of mass entries of NTR Jr. It's outrageous. It's stunning. It's hair raising. It's full of conviction and frankly makes you think what else could these men have done but this. And this is not some surprise or convenient twist of the screenplay for the sake of a goosebumps moment for NTR Jr and his fans. Rajamouli has planted clues and hints so that this pre-interval sequence becomes a stunning set piece for Bheem and his men. And because they are such underdogs at this point you can't help but cheer for them and applaud the audacity of the idea.

It's outrageous but it's fun. 

RRR starring Ram Charan and NTR Jr is a series of such equally outrageous ideas from the mind of Rajamouli. Take the premise and story. There are a couple of years of history that are missing on Telugu revolutionaries Alluri Sitaramaraju and Komaram Bheem. 

And Rajamouli simply asks what if they met? What if he narrated the story of how they impacted each other? What if he told the story his way? This historical fan fiction idea itself sounds so out there and implausible that Rajamouli is not just happy if they shared a cup of tea at a roadside stall. He wants them to fight together, against each other, atop each other, engage in a dance battle with Britishers, and ultimately save each other and give each other the purpose that defined their later lives. 

On top of the historical baggage of the two characters is the meta baggage of his leading men. Rajamouli wants to bring together two stars belonging to the two biggest families in the Telugu film industry which seems a mean feat considering that the families have had been political rivals, film rivals, and even their fans have been rivals leading to violence. 

Additionally, Rajamouli is not content just bringing two stars to be the two versions of the same as multi-starrer films do when they want to play safe and make sure neither leading actor is shortchanged. He wants them to have different emotional arcs, he wants them to be two full characters rather than two stars looking for equal footing on screen.

He also does not want to play it safe and simple as seen in other multi-starrer films such as Seethamma Vaakitlo Sirimalle Chettu or Gopala Gopala or Deva Das. These films either eliminated any elements of masala or had a clear hierarchy of stars.

To use a Baahubali-an metaphor Rajamouli wants to take the bull of masala films by its horns and make a proper multi-starrer that results in a great theatrical experience. 

And on paper, all of RRR's ideas work and they mostly translate on screen. 

Let's look at what works first. 

Rajamouli is interested in showing dualities through his films and maybe for the first time you see such literal interpretations of these dualities. Ram Charan and NTR Jr. Fire and Water. Patriotism and Personal love. Orange and Blue. Wild and Civilised. Utilitarian and Deontological. Maybe even Andhra Pradesh and Telangana. 

I was worried before watching the film that these would be ornamental and shallow ideas which might not have any emotional depth. But I was wrong on this one. You just need one example to understand why Rajamouli has covered his emotional bases.

There's a stretch in the second half and I don't want to spoil it for anyone so I'll be cryptic about it. A character is going through immense pain and this character is singing a song to console themselves. On the surface, it's about this character healing and this character spreading the message of patriotism through their song to others.

But the camera lingers on the one inflicting the pain. And the way their world and ideology begin to crumble. The character inflicting the pain has always assumed that weapons mean guns. And for the first time, this character sees that a weapon need not be a gun. It could be anything. Fists, legs, and even a song. And the camera shows fists punching the others inflicting pain, legs stepping on barbed wire to break fences, and then it lingers on to the character experiencing change. 

This is the film's best emotional sequence and probably the most important turning point within the larger journey of the film. 

And it is here that you get why Rajamouli is so obsessed with dualities and the story that he chose to tell. This scene tells you why the potential intertwining histories of two of the most celebrated figures in Telugu culture is so interesting to Rajamouli. It isn't just about bringing two big stars to act in a film or the potential box office numbers or even the chance to execute some outlandish and some downright silly ideas. 

It is also here that MM Keeravani, the music director, is in supreme form and you wonder how someone manages to make you think the music is mediocre before the release of a film and after viewing it you can't help but hum his songs. Komaram Bheemudo sung by Kaala Bhairava haunts you even after you leave the hall. 

Similarly, Rajamouli's story is not fully convincing as to how these Ramaraju and Bheem become such good friends suddenly. If the film was on mute it would have felt rushed but Keeravani and editor Sreekar Prasad save the screenplay with the way the song Dosti is pieced together audio-visually. Of course, NTR Jr and Ram Charan are great but it needed something more and the music director and editor land the bond between the principal protagonists. Other songs like Naatu Naatu and the soft hymns that are used to elevate a mass scene are prime Keeravani territory and there are barely any blunders he makes in those. 

It's also to Rajamouli's credit that he's extracted such fine performances from all his actors. It takes a special kind of film where you walk out thinking Alia Bhatt might have been the weakest link and that's not her fault because it has more to do with dubbing and her character length and the various times the screenplay uses her character Seeta as a crutch. I'll get to that later. 

Everyone has always known that NTR Jr is a great actor but somehow one could never name one film where he acted well throughout. There were scenes and stretches where he exhibited the full range of his acting prowess but there is no one film where it felt like his full potential was used. And finally, that film has come. In terms of histrionics which he always puts in fifth gear has finally mellowed in the hands of Rajamouli and he has toned it down by using NTR Jr's eyes more than his voice. There's a scene where he hears the voice of someone he's been looking for, for the first time in ages and his face lights up but it also panics because of the consequences of what it might mean for him and the other character if they recognize each other. He captures innocence and naïveté and the feeling of being wronged without resorting to melodrama like he usually does. 

Similarly, Ram Charan who had dispelled myths about his acting capabilities with Rangasthalam, gets a stoic character with a tragic past. There's a certain woodenness and sullenness to his Ramaraju. But for the first time the woodenness of his face works because of his acting and not because he can't. Early on in the film, he charges at a wrongdoer who broke a law. He's getting beaten up by a mob. And he's beating them up too. But there is this look of masochistic glee where the harder he gets hit the more determined he seems. And the pain passes onto the lawbreaker who thinks he's free. Unlike Bheem, Ramaraju has a more complex and layered character which is not an easy fan favourite. He does questionable things, his emotions are constantly in check, and his purpose is mysterious and broad. It is to Ram Charan's credit that he still manages to retain the audience's sympathy and empathy against an NTR Jr who is not only in sublime form but also has the more crowd-pleasing character.

But in this quest for a duality that isn't just plainly about giving each actor even character graphs and massy moments, Rajamouli seems to have taken lightly the one screenwriting principle that he has maintained throughout his career i.e. creating villains who seem more powerful than the hero(es).

But Ray Stevenson's General Scott and to an extent Alisson Dhody's Lady Scott are the weakest villains in Rajamouli's filmography. It's not just enough that they have an army of soldiers at their disposal or that they are racists and have no feelings about uprooting children from their homes. Those are clichés and you expect better and bigger from a filmmaker of Rajamouli's stature. 

This film needed its Gabbar Singh or at least a version of Helmut Zemo from Avengers: Civil War. Because once Bheem achieves his goals and Ramaraju goes through what he must, the third act of the film feels like an extension only to have some fan-pleasing set pieces. The set pieces are whistle-worthy for sure but they don't carry the same emotional weight as the earlier portions of the films did.

All of this is made apparent by two screenplay choices that Rajmouli is forced to make. The first is that all of Seeta's entries occur where convenient and depend on us believing in coincidences that bend the rules of Rajamouli's universe. We cut to one of her scenes in the first half to make us understand the motives of Ramaraju but it doesn't feel organic. Similarly, when she does enter in the third act it feels too convenient. But again, the premise of this sequence is great. It's an inversion of Hanuman going to save Sita and Rajamouli never makes a poor allusion to mythology. But he has created a poor villain which also leads him towards his second questionable screenplay choice. 

This involves the flashback of Ramaraju. Given where it is currently it feels like the journey expected of an audience is to go from "Why is he behaving like a villain?" to "Oh! That's why he was like that". Wouldn't it have been better to keep it upfront so the conflict between Ram and Bheem feels more like a tragedy that the audience cannot stop? But then again if Rajamouli does that then that will cause a bloated first half which leaves barely any drama for the second. 

I understand it's hard to create a more macho villain than the combination of Ramcharan and NTR Jr playing Ramaraju and Bheem but Lady Scott with all her venom seemed a more promising villain than General Scott. A little more bravery on this front would have made for a strong third act and not having the audience feel like the film ended abruptly.

But you never walk out of the theatre feeling like you've been shortchanged for the cash you paid. The questions that linger are more in the zone of what could have been an epic story is now reduced to an epic theatrical experience. And there is nothing wrong with that either, but because of the bar Rajamouli has set for himself you want to discuss and dissect each story and you want it to linger in your mind years later. Now what lingers is how you felt when watching the outrageous set pieces.

And they were goosebumps raising, whiste-worthy, crazy, insane. Did I say outrageous?

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సమీక్ష – ఆర్ఆర్ఆర్.

Article by Satya Published by GulteDesk --> Published on: 10:41 am, 25 March 2022

3 Hrs 5 Mins   |   Action - Patriotic - Drama   |   25-03-2022

Cast - Ram Charan, NTR, Alia Bhatt, Ajay Devgn, Shriya, Rahul Ramakrishna, Olivia Morris, Samuthirakani and others

Director - SS Rajamouli

Producer - DVV Danayya

Banner - DVV Entertainments

Music - MM Keeravani

గత మూడేళ్లుగా సెట్ మీద, వార్తల్లో వుంటూ వచ్చిన సినిమా ఆర్ఆర్ఆర్. ఈ సినిమా మీద పేరుకుంటూ వచ్చిన అంచనాలు ఈ రోజు విడుదల టైమ్ లో ప్రపంచ వ్యాప్తంగా థియేటర్లను ఊపేసాయి. బాహుబలి సిరీస్ తరువాత రాజమౌళి సినిమా కావడం, ఎన్టీఆర్, రామ్ చరణ్ లాంటి ఇద్దరు పెద్ద హీరోలు కలిసి నటించడం కీలకమైన ప్రామిసింగ్ పాయింట్లుగా మారాయి. ఇలా వెయ్యి కోట్ల బిజినెస్ జరుపుకున్న ఆర్ఆర్ఆర్ ఎలా వుంది? అంచనాలు అందుకుందా? ఇద్దరు పెద్ద హీరోల ఫ్యాన్స్ ను రంజింప చేసిందా? చూద్దాం.

బాహుబలి లాంటి భయంకరమైన వరల్డ్ వైడ్ బ్లాక్ బస్టర్ ఇచ్చిన తరువాత ఎలాంటి, ఎంత గొప్ప డైరక్టర్ కు అయినా మైండ్ కాస్త బ్లాంక్ అయిపోతుంది. తరువాత ఏం చేయాలా? అన్నది డిసైడ్ చేసుకోవడం అంత సులువు కాదు,. రాజమౌళి కూడా అలాంటి ఊగిసలాటకు, వత్తిడికి గురయినట్లు కనిపించింది ఆర్ఆర్ఆర్ చూస్తుంటే. సరైన కథను అల్లుకోలేక, కేవలం విజువల్స్ నమ్ముకుని, ముందుకు వెళ్లినట్లు అర్థమైపోతోంది. ఇద్దరు హీరోలను ఫిక్స్ చేసుకుని, వాళ్లకి రెండు క్యారెక్టర్లు రాసుకుని, వాళ్లద్దరి ఇమేజ్ కు సరిపోయే నాలుగయిదు యాక్షన్ ఎపిసోడ్ లు రాసుకుని ముందుకు వెళ్లిపోయారు తప్ప, బాహుబలి మాదిరిగా మరిన్ని బలమైన క్యారెక్టర్లు, బలమైన కథ సమకూర్చుకోలేకపోయారు.

బాహుబలి సినిమాలో శివగామి, ఆమె భర్త, కొడుకు రానా, ఇలా ప్రతి క్యారెక్టర్ బలంగా వుంటాయి. ఆ స్థాయి ఆర్ఆర్ఆర్ లోని అజయ్ దేవగన్, ఆలియాభట్ క్యారెకర్లకు కనిపించలేదు. కేవలం రెండు ప్రధాన పాత్రలను ఎలివేట్ చేయడంతోనే రాజమౌళి శ్రమ అంతా సరిపోయింది. అదే విధంగా బాహుబలి హ్యాంగోవర్ అన్నట్లుగా, చిత్ర విచిత్రమైన ఫాంటసీ పోరాట సన్నివేశాలను డిజైన్ చేసి మళ్లీ ఆడియన్స్ ను ఆకట్టుకోవాలనే ప్రయత్నం చేసారు.

ఆర్ఆర్ఆర్ తొలిసగం చాలా నెమ్మదిగా కథలోకి ప్రవేశిస్తుంది. చరణ్, తారక్ ల ఇంట్రడక్షన్ ల దగ్గర కేరంతలు కొట్టిన ఫ్యాన్స్ మళ్లీ సీట్లలోంచి లేచి గెంతడానికి దాదాపు ముప్పావు గంట పడుతుంది. నాటు..నాటు పాట వాళ్లను ఊగిపోయేలా చేస్తుంది. ఆ హుషారు మళ్లీ ప్రీ క్లయిమాక్స్ దగ్గర కనిపిస్తుంది. ఇంటర్వెల్ బ్యాంగ్ దగ్గర అన్ని పులులు, ఇతర జంతువులను ఢిల్లీ నడిబొడ్డుకు తెచ్చి విడిచిపెట్టిన వైనం ఫాంటసీలా జనాలను అలరిస్తుంది. రాజమౌలి సినిమాలకు లాజిక్ లు అడక్కూడదు అని మరోసారి గుర్తు చేస్తుంది.

సినిమా మలిసగం ప్రారంభమైన తరువాత దాదాపు ఎక్కువ భాగం సీరియస్ నోట్ తో, ఎమోషనల్ గా నడుస్తుంది. ఫ్లాష్ బ్యాక్ ఎపిసోడ్ ఏమంత ఆకట్టుకోదు. ఎన్టీఆర్ ను చిత్రహింసలు పెట్టడం, చరణ్ ను జైల్లో పడేయడం , ఇలా లెంగ్తీగా సినిమా నడిచి ప్రీ క్లయిమాక్స్, క్లయిమాక్స్ పోరాట సన్నివేశాల దగ్గర మళ్లీ ఊపందుకుంటుంది. రోలింగ్ టైటిల్స్ లో పాట పెట్టడం అన్నది ప్లస్ అయింది. రెగ్యులర్ ఫార్మాట్ లో హీరోలు, హీరోయిన్లు కలిసి, మాంచి ఊపుతో డ్యాన్స్ చేసి అలరించడంతో, ఫ్యాన్స్ ను, ఆడియన్స్ ను కాస్త రిలీఫ్ గా బయటకు వెళ్లేలా చేసింది.

రాజమౌళి సినిమాలు విజువల్ వండర్ గా వుంటాయి. అందుకు తగినట్లే బ్రిటిష్ కాలం యాంబియన్స్ తీసుకువచ్చారు. సిజి వర్క్ లో భారీ భవనాలు, జనాలు కనిపించేలా చేసారు. కానీ ఎమోషనల్ సీన్లలో డయిలాగ్ పార్ట్ చాలా తక్కువ. బుర్రా సాయి మాధవ్ మార్క్ చమక్కులు కొన్ని చోట్లే కనిపించాయి కానీ మిగిలినదంతా విజవల్ ఎమోషన్ తోనే నడిపించారు. నిజానికి విజువల్ ఎమోషన్లకు ఇంకా బలమైన డైలాగులు పడితే బాగుండేది.

ఆర్ఆర్ఆర్ సినిమాకు కథే వీక్. సినిమా తొలిసగం అంతా బ్రిటిష్ జనాల డైలాగుల ఇంగ్లీష్ లో వుండడం మరో అతి పెద్ద మైనస్. అన్ని చోట్లా లాజిక్ లు గాలికి వదిలేసే రాజమౌళి ఇక్కడ ఎందుకు ఆలోచించలేదో తెలియదు. కానీ ద్వితీయార్థంలో మళ్లీ ఇంగ్లీష్ డైలాగ్ మీద తెలుగు డైలాగ్ ను ఓవర్ లాప్ చేసారు. అది కొంత వరకు మాత్రమే బెటర్ అనిపించింది.

కీరవాణి చేసిన నాటు నాటు, ఎత్తర జెండా పాటలు ఆకట్టుకుంటాయి. రీరికార్డింగ్, సౌండ్ ఎఫెక్ట్ లు బాగున్నాయి. సినిమాటోగ్రఫీ గురించి చెప్పేదేముంది. సినిమా అంతా దాని మీదే ఆధారపడి సాగింది.

రాజమౌళి, చరణ్, ఎన్టీఆర్ ల పేర్లు, ఓ పద్దతి ప్రకారం సినిమాకు తీసుకువచ్చిన బజ్ కలిసి సినిమాను కమర్షియల్ గా ఏ మేరకు సక్సెస్ చేస్తాయో చూడాలి.

ప్లస్ పాయింట్లు

చరణ్..ఎన్టీఆర్ ఇంటర్వెల్ బ్యాంగ్ క్లయిమాక్స్ నాటు..నాటు సాంగ్

మైనస్ పాయింట్లు

స్క్రిప్ట్ లెంగ్తీ నెరేషన్

ఫినిషింగ్ టచ్: విజవల్ ఎమోషన్ ..

Rating: 3.25/5

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Tags Feature Rajamouli RRR

• Cast & crew
• User reviews

A fearless warrior on a perilous mission comes face to face with a steely cop serving British forces in this epic saga set in pre-independent India. A fearless warrior on a perilous mission comes face to face with a steely cop serving British forces in this epic saga set in pre-independent India. A fearless warrior on a perilous mission comes face to face with a steely cop serving British forces in this epic saga set in pre-independent India.

• S.S. Rajamouli
• Vijayendra Prasad
• Sai Madhav Burra
• N.T. Rama Rao Jr.
• 1.7K User reviews
• 127 Critic reviews
• 83 Metascore
• 93 wins & 155 nominations total

Top cast 39

• Komaram Bheem

• Alluri Sitarama Raju
• (as Ram Charan Teja)

• Venkata Rama Raju

• Scott Buxton

• Catherine Buxton

• Venkateswarulu

• Venkat Avadhani

• Young Alluri Sitarama Raju

• All cast & crew
• Production, box office & more at IMDbPro

Best of 2022: Top 10 Most Popular Indian Movies

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Did you know

• Trivia Alluri Sita Ramaraju and Komaram Bheem were freedom fighters of India who didn't meet in real life. This film is completely fictitious and based on an idea of what if those two met.
• Goofs Brazil, but not Belize, is marked as part of the British Empire in the large map on the meeting hall. Brazil was never a colony, protectorate or a client state of the UK, unlike Belize.

Komaram Bheem : Your friendship is more valuable than this life, brother. I'll die with pride.

• Crazy credits The title doesn't appear on screen until 40 minutes into the movie.
• Alternate versions The Hindi version released on Netflix has some changes made to it. The title card mentioning "Rise Roar Revolt" has been translated to English, the intermission has been removed, the ending song and end credits are played separately, and the overall film is presented in an open matte format, as opposed to the theatrical version.
• Connections Featured in Vishal Mishra & Rahul Sipligunj: Naacho Naacho (2021)
• Soundtracks Dosti (Telugu) Lyrics by Sirivennela Seetharama Sastry Music by M.M. Keeravani Vocals by Hemachandra Vedala

User reviews 1.7K

• Dark_Lord_Mark
• Jul 18, 2022
• How long is RRR? Powered by Alexa
• March 25, 2022 (United States)
• Official site (Japan)
• Official Twitter
• صعود ودوي وثورة
• Ramoji Film city, Hyderabad, India (Film city)
• DVV Entertainment
• See more company credits at IMDbPro
• ₹3,500,000,000 (estimated)
• $15,156,051
• Mar 27, 2022
• $166,602,994

Technical specs

• Runtime 3 hours 7 minutes
• Dolby Atmos
• IMAX 6-Track

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The much-awaited release date of Global Star Ram Charan’s highly anticipated political drama Game Changer is officially locked. The film is set for a grand worldwide release on December 20, 2024, in Telugu, Tamil, and Hindi. Directed by Shankar Shanmugam, the movie stars Bollywood actress Kiara Advani in the female lead.

Meanwhile, Ram Charan has signed his next project, tentatively titled RC 16, with Uppena director Buchi Babu Sana. This high-budget film is back in the spotlight as a new addition to the crew grabs attention.

Aegan Ekambaram, the costume designer for Vikram’s Thangalaan, has joined the team for RC 16. Sharing his excitement on Instagram, he wrote, “This is my first time working in Tollywood, and I’ve been waiting for this moment for a long time. I’m grateful to director Buchi Babu Sana for this incredible opportunity, and I’m excited to collaborate with Mr. Ram Charan. This is a wonderful chance to explore new possibilities in Telugu cinema and learn more about its traditions.”

Pre-production is currently underway, and the film is expected to go on floors next month. Janhvi Kapoor has been cast as the female lead, with Shiva Rajkumar also officially on board. The project is being produced by Venkata Satish Kilaru under the banner of Vriddhi Cinemas, in collaboration with Sukumar Writings and presented by Mythri Movie Makers. AR Rahman is the tunesmith. Stay tuned for more exciting updates on RC 16.

View this post on Instagram A post shared by Aegan Ekambaram (@ekambaramaegan)

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