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मूवी रिव्यू

मूवी रिव्‍यू: आरआरआर (RRR)

क्रिटिक रेटिंग, पाठकों की रेटिंग, अपनी रेटिंग दें.

रेकमेंडेड खबरें

अगला रिव्यू

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• RRR movie review in Hindi starring Ram Charan and Junior NTR
• 104 शेयरà¥�स

सम्बंधित जानकारी

• बच्चन पांडे फिल्म समीक्षा : ढाई मिनट की बात को कहने में लगाए ढाई घंटे
• द कश्मीर फाइल्स फिल्म समीक्षा: कश्मीरी पंडितों की पीड़ा का दस्तावेज
• राधे श्याम फिल्म समीक्षा : प्रभास और कहानी ने किया निराश
• गंगूबाई काठियावाड़ी फिल्म समी‍क्षा: बदनाम गली का नाम

RRR Movie Review आरआरआर फिल्म समीक्षा: आग और पानी का तूफान

• निर्माता : डीवीवी एंटरटेनमेंट 
• निर्देशक : एसएस राजामौली 
• संगीत : एमएम क्रीम 
• कलाकार : रामचरण, जूनियर एनटीआर, अजय देवगन, आलिया भट्ट, श्रिया सरन, ओलिविया मॉरिस, रे स्टीवनसन
• सेंसर सर्टिफिकेट : यूए * 3 घंटे 6 मिनट 54 सेकंड्स 
• रेटिंग : 2.75/5 
• वेबदुनिया पर पढ़ें :
• महाभारत के किस्से
• रामायण की कहानियां
• रोचक और रोमांचक

बॉलीवुड हलचल

ब्लैक डीपनेक ड्रेस में दिशा पाटनी ने फ्लॉन्ट किया क्लीवेज, देखिए बोल्ड तस्वीरें.

शक्ति कपूर के पिता फिल्म देख बोले लड़कियां छेड़ने का करते हो काम... पेश हैं रोचक जानकारियां

15वें शिकागो साउथ एशियन फिल्म फेस्टिवल की ओपनिंग नाइट पर होगा द मेहता बॉयज का प्रीमियर

पंजाबी सिंगर एपी ढिल्लों के कनाडा स्थित घर पर हुई फायरिंग, लॉरेंस बिश्नोई गैंग ने ली हमले की जिम्मेदारी

रहस्य व एडवेंचर से भरा फिल्म कर्माण्य का मोशन पोस्टर हुआ रिलीज

और भी वीडियो देखें

स्त्री 2 फिल्म समीक्षा : विक्की की टीम का इस बार सरकटा से मुकाबला

खेल खेल में मूवी रिव्यू: अक्षय कुमार की कॉमिक टाइमिंग जोरदार, लेकिन ‍क्या फिल्म है मजेदार?

वेदा फिल्म समीक्षा: जातिवाद की चुनौती देती जॉन अब्राहम और शरवरी की फिल्म | Vedaa review

औरों में कहां दम था मूवी रिव्यू: अजय देवगन और तब्बू की फिल्म भी बेदम

Kill movie review: खून के कीचड़ से सनी सिंगल लोकेशन थ्रिलर किल

• हमारे बारे में
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Where to Watch

Watch RRR with a subscription on Netflix.

What to Know

Intoxicatingly over the top, RRR pulls out all the stops to make the absolute most of its 187-minute runtime.

Top-notch singing and dancing combine with a terrific story to make RRR a three-hour feast of entertainment.

Critics Reviews

Audience reviews, cast & crew.

S.S. Rajamouli

N.T. Rama Rao Jr.

Komaram Bheem

Alluri Sitarama Raju

Ajay Devgan

Venkata Rama Raju

Shriya Saran

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The Telugu language Indian action epic “RRR” (short for “Rise Roar Revolt”) has returned to US theaters for an exceptional one-night-only engagement on June 1st following its initial theatrical release. Some hindsight has made it easy to guess why writer/director S.S. Rajamouli has only now broken through to Western audiences with “RRR” despite his consistent box office success. Rajamouli’s latest is an anti-colonial fable and buddy drama about the imaginary combo of two real-life freedom fighters, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri Sitarama Raju ( Ram Charan ). “RRR” is also a fine showcase for Rajamouli’s characteristic focus on maximalist action choreography, overwhelming stuntwork and pyrotechnics, and sophisticated computer graphics.  

By the time he made “RRR,” Rajamouli had already developed his brand of Nationalistic self-mythologizing with some help from recurring collaborators like regular story writer (and biological father) Vijayendra Prasad and both co-leads, who previously starred in Rajamouli’s “Yamadonga” and “Magadheera,” respectively.

Set in and around Delhi in 1920, “RRR” pointedly lacks historical context so that Rajamouli and his team can transform a straight-forward rescue mission into a rallying cry for reunification and also cathartic violence. Bheem, the avenging “shepherd” of the Adivasian Gond tribe, visits Delhi to track down Malli ( Twinkle Sharma ), an innocent pre-teen who’s kidnapped from her Gondian mother by the cartoonishly evil British Governor Scott ( Ray Stevenson ) and his sadistic wife Cathy ( Alison Doody ).

Raju, a peerless Colonial police officer, befriends Bheem without realizing that they’re at cross purposes: Bheem wants to break into Scott’s fortress-like quarters to rescue Maali while Raju wants to catch the unknown “tribal” that Scott’s lackey Edward ( Edward Sonnenblick ) fears might be lurking about. Raju and Bheem immediately bond after they save an unrelated child from being crushed by a runaway train, as clear a sign as any of Rajamouli’s love for Cecil B. DeMille-style melodrama. (“Ben Hur” is an acknowledged influence for Rajamouli, as are the action/period dramas of fellow DeMille-ian Mel Gibson ).

It’s also fitting that “RRR” is Rajamouli’s big breakthrough since it’s inevitably about Bheem as an inspiring symbol of quasi-traditional, boundary-trampling patriotism. Rajamouli has gotten quite good at incorporating potentially alienating elements, like his cheap-seats love of grisly violence and brash sloganeering, into his propulsive, inventive, and visually assured fight scenes and dance numbers.

Rajamouli has also already perfected the way he works with and uses his actors as part of his shock-and-awe style of melodrama. Rama Rao is ideally cast as the naively sweet-natured Bheem, whose messianic qualities are also effectively high-lit in a handful of rousing set pieces, like when a bare-chested Bheem wrestles a tiger into submission. Rama Rao’s performance isn’t the main thing, but it is the emblematic inspiration that, along with a “Passion of the Christ”-worthy scourging, understandably leads an assembly of Indian nationals to attack Scott and his bloodthirsty hambone wife in a later scene.

Likewise, Charan’s steely-eyed performance in “RRR” is limited, but strong enough to be credibly superhuman. Rajamouli knows exactly how to capture his best sides, as in an astounding opening action scene where Raju descends into a rioting mob just to subdue and apprehend one particular dissident. Rao and Charan’s bro-mantic chemistry and syncopated physicality have already made a viral success of the movie’s splashy “Naatu Naatu” musical number, but that scene’s infectiously joyful presentation is supra-human by design.

The spirit of the individual matters more than any single person in Rajamouli’s movies and “RRR” is a perfect expression of that notion. It’s also a decent reflection of Rajamouli’s fame, which Film Companion South ’s Sagar Tetali keenly suggests is “the triumph of directorial ambition over the actor-star—the triumph of a brand of storytelling over the South Indian star image.”

With “RRR,” Rajamouli repeats his preference for one nation under populist ubermenschen. Both Bheem and Raju are extraordinary men because they are, at heart, aspirational expressions of the people’s will. Their lives, their loved ones, and their relationships are all of secondary importance—check out Bollywood star Ajay Devgn ’s explosive cameo!—so it makes sense that the cast’s images and performances are also blown up to James Cameron-sized proportions.

Like Cameron, Rajamouli has earned a reputation for pushing the limits of industrialized pop cinema. In that sense, “RRR” feels simultaneously personal and gargantuan in scope. Film Comment ’s R. Emmet Sweeney is right to caution viewers regarding the towering streak of “Hindu-centric” Nationalism and characterizations at the heart of Rajamouli’s “Pan-Indian address.” Sweeney is also right to hail Rajamouli’s dazzling “technical innovation.” It’s not every day that a new Indian movie—which are typically not advertised to Western viewers beyond indigenous language speakers, and therefore largely ignored by Western outlets—is presented as an event to American theatergoers. Attend or miss out.

Available in theaters tonight, June 1st, and also streaming on Netflix.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

• N.T. Rama Rao Jr. as Komaram Bheem
• Ram Charan as Alluri Sitarama Raju
• Alia Bhatt as Sita
• Ajay Devgn as Venkata Rama Raju
• Ray Stevenson as Scott Buxton
• Alison Doody as Cassandra Buxton
• Olivia Morris as Jennifer 'Jenny' Buxton
• Samuthirakani as Venkateshwarulu
• Shriya Saran as Sarojini
• Chatrapathi Sekhar as Jangu
• Makrand Deshpande as Peddanna

Cinematographer

• K.K. Senthil Kumar
• M.M. Keeravaani
• S. S. Rajamouli
• Sreekar Prasad
• S.S. Rajamouli

Writer (story)

• Vijayendra Prasad

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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

• Jeremy_Urquhart
• Jul 13, 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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RRR Movie Review: A film that’s meant for the big screen RRR is a teRRRific entertainer.

Rrr is a terrrific entertainer, rrr review {4.0/5} & review rating.

Everyone’s discussing RRR for a solid reason: SS Rajamouli. He pioneered the trend of PAN-India films with BAAHUBALI and BAAHUBALI 2. The second part — the facts are known to all and sundry — holds the enviable record of being the highest grossing *Hindi* film.

Naturally, the expectations from RRR — his third PAN-India film in a row — are massive. Also because it marks the Hindi debut of Jr NTR and it happens to be the second Hindi outing of Ram Charan . Two hugely popular actors of the Telugu film industry.

Both, Jr NTR and Ram Charan reunite with Rajamouli after a gap. For the uninitiated, RRR is Jr NTR’s fourth film with the master storyteller, while Charan reunites with Rajamouli after the mega-success of MAGADHEERA.

There’s a lot at stake this time. BAAHUBALI [2015] arrived with zilch expectations at that point of time. RRR is carrying the baggage of expectations and also has to deliver the numbers, after the historic success of BAAHUBALI 2 [2017]. The important question is, does RRR live up to the lofty expectations?

Like BAAHUBALI [both parts], Rajamouli goes back in time with RRR. The difference is, it’s about two revolutionaries this time. Also, RRR is set in the pre-independence era [1920].

Now let’s come to the point…

RRR is a solid entertainer that doesn’t make you restless, despite a marathon run time. The screenplay is wonderfully constructed, the twists and turns are attention grabbing and the nail-biting episodes as well as superbly executed action pieces keep you mesmerised till the final credits roll. The best part is, you don’t know the plot [Rajamouli hasn’t revealed much either, pre-release], so what unfolds on screen catches you by complete surprise.

The plot, without revealing spoilers. The year is 1920. The British are ruling India. The wife [Alison Doody] of a British officer Scott Buxton [Ray Stevenson] gets impressed by a tribal girl, Malli. She forcibly takes the girl away to Delhi, much to the shock of her parents and the rest of the tribe.

Komaram Bheem [Jr NTR] — who belongs to the tribe — promises to bring back Malli. When the British learn about Bheem and his mission, they decide to trace him at any cost. However, no one knows what Bheem looks like. A police officer, Alluri Sitarama Raju [Ram Charan], takes up the challenge.

Rajamouli’s films are desi at heart and soaked in entertainment. RRR is no different. He knows what his audience expects from him, which explains why every sequence is loaded with entertainment. Wait, Rajamouli also knows well that mass moments minus emotions will backfire, which is why there’s a strong undercurrent of emotions in his films. RRR has it as well.

Rajamouli has a fantastic sense of narrating an epic tale, which is evident when you look at the visuals. The introduction of Ram Charan first and Jr NTR later leave you stunned thanks to the sheer magnificence.

RRR Hungama: Jr. NTR, S.S. Rajamouli & Ram Charan’s most entertaining interview | Alia Bhatt | Ajay Devgn

RRR contains enough worthy material to hold the moviegoer’s attention for most of its run time. The emotional component is well balanced with subtle humour, drama, action pieces and of course, some stunning visuals that leave you awe-struck.

Any hiccups? Yes, the pace slackens in the second act, after intermission. Besides, a few sequences in this hour aren’t too convincing. Sure, it’s an entertainer and one shouldn’t look for logic, but, a few portions lack the impact. Also, Alia Bhatt’s character could’ve done with better writing.

RRR rests on Jr NTR and Ram Charan’s brawny shoulders. Jr NTR is exceptional, pitches a sterling act that doesn’t miss a beat. He gives RRR the much-needed power. Ram Charan is fantastic. Electrifying in dramatic and action moments. Winsome act adds weightage. Also, you are left awestruck by Jr NTR and Ram Charan’s dancing skills in ‘Naacho Naacho’. The choreography of this song deserves distinction marks.

Also, the two actors have dubbed their lines in Hindi themselves and the diction as well as the flow of words are perfect.

Alia Bhatt doesn’t get much scope, while Ajay Devgn appears in a well-written cameo. Ray Stevenson [Scott] and Alison Doody [Lady Scott] are effective as the antagonists. Olivia Morris gets limited scope. Shriya Saran is okay in a cameo.

The soundtrack has a smash hit number in ‘Naacho Naacho’, while ‘Sholay’ [end credits] is an apt track to conclude the film. KK Senthil Kumar's cinematography is spectacular and does complete justice to the scale of the film. Sabu Cyril's production design is superb. Rama Rajamouli's costumes are well researched and the detailing catches your eye. VFX [V Srinivas Mohan] matches global standards. Action sequences are one of the strengths of the film.

On the whole, RRR is a teRRRific entertainer that’s meant for the big screen. The film has the merits to emerge a massive hit. Don’t miss it!

• RRR Movie Review
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• RRR Movie Release Date
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• RRR Hindi Movie Review
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RRR Movie News

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MM Keeravani says his Oscar-winning song ‘Naatu Naatu’ was not his “best” work: “When the recognition has to come, it will come somehow”

Kailash Kher talks about RRR's Oscar honour; SLAMS Slumdog Millionaire's Oscar win: "It showed Indians jumping into a pile of shit; DAMAGED our reputation"

“Jr NTR was already there and we were still figuring how to place the camera”, cinematographer Senthil Kumar shares surprising anecdote about RRR

RRR adapted as Broadway play in Japan; SS Rajamouli receives standing ovation, watch

RRR mania continues! SS Rajamouli receives 1000 origami cranes as gift from 83-year-old Japanese fan

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‘RRR’ Review: A Magnificent Cinematic Explosion

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S.S. Rajamouli ’s “ RRR ” is a dazzling work of historical fiction — emphasis on the “fiction” — that makes the moving image feel intimate and enormous all at once. A pulsating period action drama, it outshines even the director’s record-smashing “Baahubali” movies (viewers familiar with them probably won’t know what to expect here) thanks to its mix of naked sincerity, unapologetic machismo, and balls-to-the-wall action craftsmanship. The film is playing on over a thousand screens in North America, and watching it with a packed audience familiar with Telugu-language cinema is likely to yield one of the noisiest and most raucous theatrical experiences imaginable. Plenty of recent releases have been hailed as “the return of cinema” post-pandemic, but “RRR” stands apart as an unabashed return to everything that makes the cinematic experience great, all at once.

To talk about the film in any meaningful sense — especially for unfamiliar viewers — first requires setting the stage. Its title is a backronym that stands for “Rise, Roar, Revolt” in English (and similar phrases in various other Indian languages), a fitting label for its early 20th century story about a pair of Indian anti-colonial revolutionaries. However, “RRR” started out as the film’s working title. It stood for director Rajamouli, and the film’s two renowned Tollywood stars, Ram Charan and N.T. Rama Rao Jr. (or N.T.R. Jr.), whose first on-screen collaboration is a good enough reason for many people to buy tickets. The title stuck. The high-caliber names involved are the main attraction, something that becomes all too clear when each actor first appears, and adoring fans turn darkened multiplex screens into lively spaces of celebration, whose walls echo with hoots, hollers and wolf whistles.

The film is worth this reaction, too.

Charan and N.T.R Jr. play Alluri Sitarama Raju (or simply Ram in the film) and Komaram Bheem, a pair of freedom fighters who, as far as anyone knows, never actually met. However, Rajamouli and his co-scribes — story writer K. V. Vijayendra Prasad and dialogue writer Sai Madhav Burra — imagine a fictitious friendship between the pair, during a period in the early 1920s where historical documentation of both figures happens to be scant. “RRR” takes that mild coincidence and turns it into a boisterous, melodramatic saga filled with action that’s over-the-top in its staging, but grounded in its emotional reality.

Charan’s Ram is introduced first, in a manner that’s as viscerally enjoyable as it is narratively shocking. In a strange inversion of history (though one that no doubt establishes a distinct trajectory for his character), we meet this fictitious version of the revolutionary when he’s a police officer for the British Empire. He leaps into battle against a sea of righteous Indian protesters and takes on hundreds of them at once, a superhuman feat typical of South Indian action stars, but one that Rajamouli anchors to tangible bruises, blood and broken bones, blending ludicrous staging (via wide shots that feel like baroque tableaus) with piercing close-ups that rarely cut away as the action plays out. All the while, Ram remains fearlessly and obsessively dedicated to the Crown, and it’s hard not to cheer him on despite this ugly setup — especially when he doesn’t receive the requisite thanks from his British superiors and takes out his frustrations by reducing a punching bag to sandy pulp.

Before long, Ram — now undercover as a revolutionary in the hopes of a big police promotion — is set on a collision course with N.T.R. Jr.’s kindly and heroic Bheem, whose own introduction plays like a fever dream. After a young girl from Bheem’s forest tribe, the Gond, is kidnapped by a British aristocrat, he sets a mysterious plan in motion that involves capturing a number of wild animals (a setup whose payoff is magnificently unexpected). We first meet Bheem as he sprints through the forest — Rajamouli and cinematographer K. K. Senthil Kumar charge towards him with their camera, making his movements feel limitless — and when he manages to capture a roaring tiger in a net, he roars back in its face, accessing something primal and animalistic, as the camera zeroes in on his quivering veins and muscles.

Both men are, in a strictly narrative sense, straight — Ram has a fiancé back home; Bheem has a bit of a will-they-won’t-they with an English woman, Jenny (Olivia Morris) — but everything about the way they’re captured and the way they interact drips with an unapologetic homoeroticism that forms the film’s emotional core. The duo, unaware of each other’s true identities as a cop and revolutionary, first become friends in a scene of explosive heroism that involves a bike, a horse, a train, and both men swinging off a bridge, but the beat that feels most colossal amidst the mayhem is an intimate close up in which they clasp hands, a moment so enormous that it yanks the film’s title onto the screen about 40 minutes in (who would’ve thought “RRR” would have something in common with “Drive My Car”?)

Charan is suave as Ram, and he guides N.T.R. Jr.’s more awkward Bheem through romantic advances with Jenny (a dynamic made hilarious thanks to their linguistic barrier), but the two leading men constantly wrestle between several emotional layers. Each one has their own secret mission — Ram hopes to suss out a revolutionary leader who he doesn’t realize is Bheem; Bheem hopes to make his way into a Governor’s mansion to rescue the kidnapped girl — but the duo’s close friendship also begins to infect their respective missions, especially when they’re forced to confront the truth about one another. They have broader ideals for which they fight, but their senses of duty, which they each see as altruistic, soon become complicated by their love for each as individuals.

It may not be hard to predict the plot, at least in its broad strokes — it’s filled with coincidences, and with misunderstandings which are eventually clarified — but each emotional moment along the way is both magnified to the maximum, yet rooted in the kind of devastating sincerity that makes the duo’s eventual, inevitable collision almost difficult to watch. “RRR” is the kind of film where violence and music aren’t just layered atop the story, but intrinsically woven into the way it’s told. Every action beat has meaning, either in the way it’s set up — a brief moment from the duo’s friendship montage, in which Ram sits atop Bheem’s shoulders, later returns in stunning fashion — or in the way it enhances the narrative. A moment of betrayal, for instance, is marked by a flaming carriage wheel coming undone and striking one of the characters in the heart, and it’s only about the tenth or fifteenth wildest thing that happens in that entire set piece.

For every story beat told through action, there’s another expressed through M. M. Keeravani’s music. The themes composed for Ram, especially when he’s in uniform, arrive with terrifying western horns, which blare whenever he jumps into action, while Bheem’s compositions feel more Earthy, creating a connection between him and nature through spiritual vocal chants and more traditional wooden instruments. As the duo’s friendship grows deeper, the lines between these kinds of compositions begin to blur. The film may not have many dance sequences, but the one major number — “ Naatu Naatu ,” which went viral several months ago for the way Ram and Bheem dance energetically arm-in-arm — becomes its own euphoric mini-movie about friendship and revolution, with its own subplot running throughout the choreography. Modern Hollywood blockbusters tend to have one or two standout scenes, but nearly every scene of “RRR” feels like it could be somebody’s favorite, so even its gargantuan 188 minute running time feels like a breeze.

Of course, the Hollywood influence on “RRR” is clear from the outset, as is the case with many Indian blockbusters, but the film is also its own unique beast. While it evokes images of superhero movies, American war films, and even films about chattel slavery, it blends them together in transformative fashion, hyper-charging each image until it pushes up against the line of believability, but is swiftly yanked back into a familiar emotional realm by recognizable performances. Hollywood star Ray Stevenson plays a moustache-twirling British officer, Governor Scott, who initially comes off as cartoonishly evil — so much so that he doesn’t even want to waste precious English bullets on “brown rubbish” — yet the film not only sticks with that cartoonishness until it feels familiar, but even expands on his strange philosophy until it becomes inextricable from the plot. That Stevenson (and even Bollywood stars Alia Bhatt and Ajay Devgn, who appear in supporting roles) feel like also-rans in the face of Ram Charan and N.T.R. Jr. is a testament to just how massive this collaboration feels — there’s really no western equivalent — and Rajamouli captures every moment and every interaction with the requisite scale and adoration.

By the time the film reaches its fiery climax, one filled with jaw-dropping imagery, it imbues both men with a sense of holy mythicism. Ram even ends up molded in the visage of his namesake, Lord Rama from Hindu scripture, wielding a bow and arrow in the face of British firearms, but no matter how ridiculously any of these moments read on paper, they fit perfectly with the film’s emotional reality, in which love and righteousness flow through the characters like electric superpowers, allowing them to achieve extraordinary, face-melting feats that will leave even the most hardened and cynical viewers feeling childishly giddy.

“RRR” is now playing in theaters.

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RRR Movie Review

RRR Devesh Sharma , Mar 25, 2022, 16:11 IST

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राइज़ रौर रिवोल्ट (आर आर आर) (2022) (U/A)

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'rrr' movie review: ss rajamouli mounts yet another riveting visual spectacle, our review of ss rajamouli's rrr starring jr ntr and ram charan..

(This is a review of the Hindi dubbed version of RRR)

A man after being bitten by a poisonous snake breaks a wall with his own fist! When he's on death row and in solitary confinement he does push ups! Someone else has his legs broken but takes ferocious leaps in the air to kill his target! SS Rajamouli’s 3-hour-long, hypnotic spectacle RRR is made up of many such moments that nudge us to suspend our disbelief. “Load, aim and shoot! “ - that’s what Rajamouli’s screenplay and K V Vijayendra Prasad’s story is all about unencumbered as it is by the need to be historically accurate or even logical for that matter. The only way to have fun then is to unquestioningly surrender yourself to this ambitious setup where the directors’s mastery over his craft is never in doubt.

RRR is set in the 1920s and revolves around the lives of two revolutionaries – Alluri Seetharama Raju who waged an armed campaign against the British and Komaram Bheem a tribal from the Gond tribe who fought against atrocities heaped on his people. There is no historical evidence to show that the two ever met or fought together but Rajamouli reimagines history and weaves a story around their meeting.

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Jr NTR plays Komaram Bheem, while Ram Charan plays Alluri Seetharama Raju and Ajay Devgn, Alia Bhatt, Shriya Saran, Makrand Deshpande all have extended cameos. The action is all guns and teer kamaan blazing. Nothing is off limits . From our heroes with superhuman capabilities to the brute force of animals, computer generated but roaring and growling, there is never a dull moment in the almost 1 hour 45 mins long pre-interval duration. Watch out for the Naacho Naacho song and the spell-binding choreography which makes it impossible to look away. Jr NTR and Ram Charan with their vociferous performances and easy camaraderie leave us enthralled. The plot itself is wafer thin. Bheem wants to rescue a little girl forcefully taken away by a certain Lord Scott and his cruel wife. Charan playing the loyal servant to the Crown must do all he can to arrest him. Both fight each other till they realise that they share a common enemy all along. But it’s only Rajamouli who can conjure up the visual magic that makes us want to stay with their story even when it at times appears over zestful and melodramatic .

Jr NTR and Ram Charan in  RRR.

RRR is made for a big screen viewing. The cinematography and visual aesthetics paint every frame in a radiating manner. Oodles of flamboyance is something one has come to expect from Rajamouli now. The background score thuds with relentless urgency and repetition, unapologetically melodramatic and quite smitten with itself. It numbs us into submission but post-interval as the pace falters a little, the pleasures dwindle too. Leavened with rousing crowd pleasing ingredients RRR plays to our patriotic sentiments. It remains a film that makes us gawk and marvel at the thrilling visual ride. For us to suspend our disbelief the film must also write its way past the contrivances. This is where it falters. So even though parts of RRR seem Ridiculous and Reductive it's also absolutely Ravishing and for that it deserves to be seen and enjoyed.

Rating: 3 Quints out of 5.

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If you haven't been back to the movies yet, Indian epic 'RRR' is the reason to go

John Powers

Ram Charan stars in RRR, an action-packed bromance set in India in the 1920s. Raftar Creations hide caption

Ram Charan stars in RRR, an action-packed bromance set in India in the 1920s.

If you're over the age of, say, 40, you will surely remember the 1975 cult phenomenon The Rocky Horror Picture Show . Weekend after weekend, year after year, decade after decade, audiences turned up at theaters — often dressed in corsets, fishnets and other costumes — to shriek out lines ahead of the characters and sing along with the songs.

I've never seen anything like it — until now. A few nights ago, I went to a packed screening of RRR , an epic action-picture bromance from India. The screening had 900 people — some of whom had already seen the film 10 times — clapping and dancing from the opening credits.

Made by box-office titan S.S. Rajamouli, RRR induces such unabashed giddiness in its audience that Hollywood is witnessing a push to get it nominated for the Oscars. Forget Best International Feature Film, folks are talking Best Picture, Best Director, Best Actor. And having seen RRR twice myself, I'm part of the bandwagon.

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'rrr' is an interrrnational phenomenon.

Set during the British Raj in the 1920s, the movie tells the story of two heroes with impressive physiques and super-charged abilities. The tightly wound Ram — played by Ram Charan — works for the British as a crack military officer who we see quash a mass Indian uprising single-handed. His tiger-hunting counterpart, Bheem, played by N.T. Rama Rao, Jr., is a tribal villager who has come in disguise to Delhi to reclaim a young girl from his village who has been capriciously snatched by the evil wife of the evil British governor.

Ram and Bheem meet heroically while working in tandem to save a child from a train crashing into a river. Kindred in their bravery, they instantly become fast friends. But they don't know one important thing. While Bheem secretly opposes the governor, Ram is secretly working for him. They're bound for a head-on collision.

RRR — the title stands for Rise Roar Revolt — is populist filmmaking. Its emotions are simple, its anti-colonial politics broad. Rajamouli makes the British rulers of India even worse than they actually were, and they were mighty bad. But his mega-star lead actors play their roles with such ardent conviction that we don't merely believe in Ram and Bheem's friendship, we're moved by it. Rajamouli unfolds the many twists and turns of their story with such confidently rampaging energy that, by comparison, most Hollywood blockbusters feel anemic.

I'm normally bored by action sequences, but from the opening riot to the assault on the governor's mansion to the big prison escape — during which Ram rides atop Bheem's shoulders with guns ablazing — RRR contains more exciting action scenes than all the Marvel movies put together. Indeed, there's a slow-motion shot right before the intermission that is one of the most jaw dropping moments in the history of cinema. Just as Crouching Tiger, Hidden Dragon and The Matrix offered American viewers a new vision of action, so RRR possesses a delirious inventiveness and originality that audiences will love. And I haven't even mentioned the marvelous "Naatu Naatu" song-and-dance sequence that recalls the dance-off between the Jets and the Sharks in West Side Story , but is vastly more alive.

You can currently see RRR on Netflix, and it's a good enough movie that you'll enjoy it. But if you can — and I'd urge local theaters to bring it back — you should see it on a big screen. For two reasons. First, Rajamouli is in love with the sheer bigness that makes movies so much grander than TV. Bursting with fights, rescues, wild animals, surging crowds, sadistic monsters, larger-than-life showdowns and mythic transformations, RRR is not a movie that leaves you asking for more.

Indeed, in these days when the box-office is way down, movie chains are wobbling, and experts wonder whether the movies will even survive, RRR makes the case for returning to theaters. It reminds us that movies are always more thrilling when they're part of a collective experience, when you can share the excitement with the people around you. That excitement is electric when you watch RRR . You may well leave the theater humming the catchy tune, "Naatu Naatu."

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

The latest outsized crowd-pleaser from Baahubali series director S.S. Rajamouli finds massive thrills in revolution

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by Katie Rife

In the famous “No Man’s Land” sequence from 2017’s Wonder Woman , Gal Gadot strides across a barren battlefield in slow motion, deflecting German bullets with her wrist cuffs and magical shield. The wind blows through her hair as she leaps across the muddy fields with godlike nimbleness, the score swelling behind her with patriotic pride. There’s a similar moment in RRR (“Rise Roar Revolt”), S.S. Rajamouli’s action-drama hybrid about the adventures of two Indian revolutionaries who have divergent approaches to resisting British occupation in 1920s Delhi. The difference is, in RRR , it’s just one of half a dozen scenes of its kind.

The latest outsized action spectacle from Rajamouli — director of the much-beloved Baahubali movies , available on Netflix — mythologizes two historical figures, Komaram Bheem (N.T. 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 onto tribal lands. Raju, meanwhile, led guerrilla attacks on imperial police stations, seizing British guns 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 supercop on a mission to take down the British power structure from within. That’s a minor liberty, however, compared to the fact that in the film, both Raju and Bheem have superheroic agility, strength, and fighting abilities. Both can scale buildings like Spider-Man, dodge bullets like Wonder Woman, and flip their opponents like pro wrestlers. Bheem, representing the element of water, counts the animals of the forest among his allies, and bursts onto the field of battle with tigers and wolves by his side. And Raju, representing fire, drives a burning carriage and shoots flaming arrows. Picture Benjamin Franklin and Paul Revere joining the MCU, with Franklin harnessing the power of electricity, and Revere the swiftness of the wind.

The superpowers aren’t the only liberty taken with their stories. RRR explains gaps in both men’s histories by proposing that they became friends after they each made their way to Delhi in the early 1920s — Raju as an undercover imperial cop, Bheem on a rescue mission to save a village girl kidnapped by a colonial governor. (They never met in real life.) In the film, the pair bond over their mutual derring-do. They’re two strangers who agree with a nod to embark on a dangerous impromptu rescue mission to save a little boy trapped by a flaming train accident on a Delhi river.

Subtlety, to put it mildly, is not Rajamouli’s thing. And so the director not only takes every opportunity available to hammer home 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 drops in slow motion and spins to a stop as guests stare with wide eyes and jaws agape. Raju pummels a punching bag in frustration after being passed over for a promotion? You bet those drops of sweat are beading off of his glistening, muscular shoulders and dashing mustache at half-speed.

RRR also deals in big emotions to match its hyper-dramatic shooting style. Betrayal, loyalty, and legacy are all major themes, and an alternate title of the film could be SSS — “Secrets. Subterfuge. Sacrifice.” Compared to a stereotypical Bollywood film (which RRR is not — it’s 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 John Woo’s 1980s movies, until it transforms into a superhero team-up. And Rajamouli’s camera is unabashed in its worship of these men, introducing them with protracted sequences designed to build anticipation for viewers’ first look at the characters.

But RRR does make some time for comedy and music amid its stylized feats of mythological bravery. Between the title card — which pops up around the 45-minute mark — and the intermission (sorry, “InteRRRmission”) break two hours in, 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 chase girls. Raju has a sweetheart back home — his childhood friend Sita (Alia Bhatt), to whom he pledged eternal loyalty before leaving his village to join the Indian Imperial Police. So he acts as Bheem’s wingman, helping Bheem charm sympathetic Englishwoman Jenny (Olivia Morris) with his aw-shucks attitude and impressive dance skills.

Jr NTR (the common abbreviation for N.T. Rama Rao Jr.) and Ram Charan, both Telugu superstars in their own right, show off those skills in the rousing “ Naatu Naatu, ” RRR ’s only real musical production number. (Another song, “Etthara Jenda,” plays over the end credits, and Bheem puts his defiance into song while being punished for his revolutionary activities.) Longtime Rajamouli collaborator M.M. Keeravani provides music for these numbers, along with a title song and instrumental compositions designed to get audiences to their feet.

RRR is a busy movie, full of kinetic camerawork, bustling crowd scenes, elaborate set design, expensive-looking CGI, and loud sound effects. Rajamouli is skilled at balancing the film’s many elements, so “overstimulated” isn’t quite the word for how walking out o f RRR feels. It’s more like the pleasant exhaustion after a good workout.

The extended running times of Indian films used to form a barrier to entry for Western audiences unaccustomed to spending three full hours at the movies. But times have changed, and RRR is only 10 minutes longer than The Batman . On the other hand, although it’s set for release in 30 countries , the film assumes a familiarity with certain characters and iconographies that might go over foreign viewers’ heads. Still, at its core, this is a story about people fighting for their beliefs against impossible odds. It’s about perseverance and the power of working together toward a common goal. Those themes are universally relatable — as is the giddy thrill of watching racist forces of imperial oppression get exactly what’s coming to them.

RRR is now playing in select theaters worldwide.

[ 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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How the Indian Action Spectacular ‘RRR’ Became a Smash in America

The unusual decision to rerelease the film a few weeks after its initial run has drawn enthusiastic audiences even though it’s available on Netflix.

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By Simon Abrams

The Telugu-language Indian action spectacular “RRR,” or “Rise, Roar, Revolt,” was already a worldwide box office winner when it was released in March, grossing $65 million during its opening weekend. But it took an unusual second release for the period epic from the director S.S. Rajamouli to become a word-of-mouth smash across the United States. Now in its 10th week, it’s the rare Indian hit to catch on with American viewers outside the Indian diaspora, thanks to the unusual decision to relaunch the film weeks after it had already played across the country on 1,200 screens.

Set in Delhi during the early 1920s, “RRR” follows two patriotic but philosophically opposed men (Ram Charan and N.T. Rama Rao Jr.) as they first clash with each other, then team up to rescue a kidnapped girl (Twinkle Sharma) from a pair of sadistic British colonial officials (Alison Doody and Ray Stevenson).

A Hindi-language version made for the Bollywood market has been available to Netflix subscribers since May and was among the service’s Top 10 most watched titles in America for nine consecutive weeks. But even with simultaneous streaming, the movie has now grossed $14 million at the American box office and played in 175 additional theaters across 34 states. By contrast, the Telugu-language crime drama “Pushpa: The Rise — Part 1,” the highest-earning Indian movie of last year, made only $1.32 million during its American release.

The president of the distributor Variance Films, Dylan Marchetti, estimates that most of the “RRR” ticket buyers had never before seen a production from Tollywood, the film industry that caters to audiences in Andhra Pradesh and Telangana, where Telugu is the main language.

The story of how “RRR” broke through in the U.S. involves a rare relaunch — sold to moviegoers as an “encoRRRe” — by Variance in conjunction with an independent consultant, Josh Hurtado, and Sarigama Cinemas, the movie’s original distributor.

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A Wild Indian Blockbuster Is Ravishing Movie Fans, but They’re Missing Its Troubling Subtext

It wasn’t inevitable that the histrionic Indian epic RRR would be the mammoth global success it’s now become. The three-hour, special effects–heavy cinematic event is the most expensive feature in Indian history (no small feat), and its filming and release schedules were bogged down in yearslong delays due to a pandemic that’s deeply ravaged much of India . But the wait, and the work, was more than worth it: RRR is not only a record-setting box-office smash within India but all around the world, garnering more excited chatter and coverage than I’ve seen for almost any 21 st -century Indian flick. After a widely distributed release in late March , the movie’s Hindi-language dub hit Netflix on May 22, becoming the most-watched non-English movie on the platform by June . RRR has broken through in a way unusual for its length, language, and country of origin. Film critics everywhere adore it, as do NFL players and filmgoers crowding sold-out screenings. Rolling Stone deemed it “ the best and most revolutionary blockbuster ” of the year; sociologist and author Nancy Wang Yuen calls it “ three hours of anti-colonialist AWESOMENESS .”

Indian films don’t often get this kind of ubiquity, but RRR ’s breakout success is even more impressive than that fact conveys. Bollywood—the astonishingly prolific Hindi-language film industry that mainly reflects a North Indian sensibility—is the lens through which foreign filmgoers tend to consider Indian cinema, with the exceptions of Criterion-approved Bengali-language directors like Satyajit Ray and Ritwik Ghatak . RRR is of neither mold: The movie was filmed in Telugu, a language spoken primarily in South Indian states whose cultural contributions often get dwarfed by Mumbai’s. It used to be that successful Telugu directors like Ram Gopal Varma would transition to Bollywood for nationwide fame, after establishing themselves on the regional scene, yet in recent years, as Bollywood has found itself battling an increasingly censorious government and struggling with big-budget flops , Tollywood (Telugu cinema) and Kollywood (Tamil cinema) have increased their share of the market. RRR ’s director, S.S. Rajamouli, has played no small part in this cultural shift, having found blockbuster success over the past decade with Eega and the two Baahubali films, the latter of which are among the most expensive and highest-grossing Indian movies ever made. (They’re also on Netflix.) With RRR , Rajamouli breaks both the bank and his own records, and fuels a whole new phenomenon.

The movie, a quasi-historical exploration of early-century British-ruled India, bases its two lead characters on real freedom fighters (while making sure to emphasize that everything on screen is fiction): Alluri Sitarama Raju, an Indigenous youngster who led an armed uprising against the British and was executed for it, and Komaran Bheem, a member of the Gond tribes who fought against both the British Raj and the post-Mughal Nizams who ruled his home state of Hyderabad. The movie reimagines their struggles and journeys even as it keeps their names: Raju (Ram Charan) is a member of British law enforcement, and Bheem (N.T. Rama Rao Jr.) is motivated here not by environmental degradation but by the forced purchase of a Gondi girl, Malli (Twinkle Sharma), by a British colonial governor’s family.

That cause leads the protagonists to cross paths, albeit not in the way they expect: Raju, referred to more commonly as Ram (this is important later), is dispatched to Delhi to make sure no Gonds come to take Malli back; Bheem, meanwhile, arrives in the city with a small posse to do just that, disguised as a Muslim in traditional garb. The two come together to save a little boy who’s trapped near a bridge that collapses after a train catches fire and explodes, rescuing him with their superstrength and dexterity. The city celebrates them as heroes, and the two become fast friends without realizing they’re meant to be at loggerheads. (In case you aren’t able to follow the plot, the extremely on-the-nose song lyrics can help you out.) Bheem eventually confesses his true identity to Ram and goes off to save Malli—only to be detained and sentenced to torture and execution by none other than Ram himself. It’s then we find out that Ram is no loyalist, but actually a savvy player of the long game: When he was a child, British soldiers overran his village and slaughtered his family, and his father (portrayed by veteran actor Ajay Devgn) made him promise to get inside of the Raj and ship British arms to the Indian people to arm them for revolution. Bheem’s predicament accelerates the conundrum Ram faces: to keep up this loyalist façade or to break his cover and save his friend.

On an aesthetic level, RRR (short for Roudram Ranam Rudhiram , Telugu for Rise Roar Revolt ) is indeed a helluva fun ride. Pretty much every trope you’ve heard about fluorescent dishoom-dishoom action-packed Indian film is present and dialed up to 110. The superstrong man who can fight off crowds of hundreds of armed assailants, the impossible acrobatics, the inspiring battles against cruel imperialists, and lions and tigers and deer, oh my! (The film notes at the beginning that the animals, who do not hesitate to brutalize anyone in their path, are all CGI.) It’s difficult to convey the scope of action and drama in writing, because RRR is maximum cinema, the kind of in-your-face, colorful, fiery, loud, awe-inspiring experience you really can only get from the movies.

Still, for a student of the Indian canon, the rapturous response to RRR might seem a bit overblown. There’s more action and special effects, sure, but it’s hard to see how RRR deviates from the similarly outrageous blockbusters that came before it. Rajamouli makes explicit references to the iconic 1975 superhit Sholay , a brazen spaghetti Western rip-off that provided the definitive template for the two-friends-against-the-baddies romantic-comedy-musical-and-hypermasculine-bromance-slash-action-epic genre RRR embodies. The ultrapatriotic tone also reminded me of predecessors like Purab Aur Pachhim (1970), directed by and starring the much-decorated Manoj Kumar, who made Indian supremacy over the West a running theme of his work . For actual supermen, one need look no further than the bombastic tale of Mr. India , from 1987. Plus, the lengthy, high-stakes struggle between noble villagers against the punitive colonizers was previously embodied in 2001’s Lagaan , the last Indian film to get an Oscar nomination for Best Foreign Language Film. And depictions of the more violent revolutionaries of India’s independence fight, who had as much of an impact as Gandhi if not more , can be found in other modern tributes like The Legend of Bhagat Singh and Rang De Basanti . This is not to downplay RRR ’s visual mastery, or to try to marginalize the notable breakthrough of a Telugu movie (I realize I am copping to my own biases by listing Hindi movies in this paragraph), but to state that it’s hard to nail down a specific reason why RRR has spread as a pan-Indian exemplar in a way those other movies didn’t. Even its absurdity—animals being thrown into humans, loud and exaggerated dance sequences, and vehicles exploding in all sorts of weird ways—isn’t especially novel.

In fact, RRR ’s massive fame is more cause for concern than celebration. If we’re going to champion the film in part for its anti-colonial stance , we should likewise take stock of its uglier but no less important subtexts.

Let’s start with the religious iconography. This is hardcore Hinduism through and through, an apt representation for a country that’s employed authoritarian tactics to empower violent Hindu nationalism and transition to a de facto ethnocratic state . After Ram openly defies his colonial employers in order to save Bheem’s life, he’s seen assuming a wardrobe that invokes his namesake Rama, the hero of the ancient Hindi myth Ramayana who is a reincarnation of the powerful Hindu deity Vishnu. (Ram of RRR also uses a bow and an arrow that a background song states is as “strong as Shiva’s,” referring to another prominent deity.) The lead-up to this apotheosis isn’t subtle—Ram’s girlfriend in RRR is named Sita, the same as Rama’s kidnapped beloved in Ramayana —but when he assumes this final form, it’s even more overt: the bow and flaming arrow, the ancient chest-baring garb, the warrior stance, the godly strength.

There’s nothing wrong with a film alluding to the Ramayana , a riveting tale with many beloved adaptations; it’s more a matter of how Ram’s semi-divinity clashes with the depiction of Bheem and his fellow Gonds. In general, India’s treatment of its Adivasis —native tribe members—has been less than generous , but as Gond journalist Akash Poyam wrote in the Caravan , even RRR ’s Gond hero is not the milestone for Indigenous representation he might seem. Bheem is not a physically weaker hero than Ram, but once Ram’s real purpose is revealed, Bheem is immediately made to seem inferior—spiritually, patriotically, societally. In a baffling monologue, Bheem decries the fact that, in contrast with Ram’s long game, he fought the British mostly to rescue Malli, ironically confirming a sneering British officer’s comment that the Gond “tribals” are driven by the protection of their own. The stereotypes proliferate as the Gonds are seen having a unique control over wild animals like tigers and snakes, reducing a rich community to a group of primitive animal whisperers (one of them does a bird call near the beginning, naturally). And when Ram becomes Rama—a pointed transformation, considering that Ram is clearly of a higher caste than Bheem—the Gond leader reduces himself to the level of student, begging in the movie’s last line to learn from him.

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Some critics have praised RRR for showing a high-caste Hindu forming a tight bond with someone he perceives to be Muslim, but this is belied by the fact that actual Muslim characters are seen nowhere in the film. (When Bheem confesses his true mission to Ram, his first words are, “I am not a Muslim.”) The Rama iconography later in the film, added to Bheem’s submissiveness, makes this narrative choice seem more pointed: Commemoration of the Ramayana has been one of the bloodiest flashpoints for Islamophobic violence in India, with Hindu nationalists having destroyed a Mughal-era mosque that was supposedly located at Rama’s birthplace. The Rama temple now constructed in its place is a symbol for the belief that India should be a holy land for Hindus; it’s even been put on billboards in Times Square . It’s likewise worth noting that the Vande Mataram custom flag that appears in essential scenes like the boy’s rescue—protecting Bheem from the train’s flames, for one—was in part designed by Veer Savarkar , the father of Hindu nationalism.

Plus, one wouldn’t know from watching RRR that Muslim leaders were some of India’s most storied freedom fighters—not even from the gallery of famed independence icons at the end of the movie, with no Saifuddin Kitchlew , no Zakir Husain , no Asaf Ali . Some stink has already been raised about the fact that the song also excludes Jawaharlal Nehru and Mahatma Gandhi, the former of whom has become a pariah for India’s right wingers , the latter of whose assassin is now praised by many Hindu nationalists . (For a recent Indian film that does pay homage to the era’s Muslim activists, I recommend 2018’s Manto , also on Netflix.)

Obviously, one film cannot encompass everything, and as the filmmakers have themselves noted, RRR is sheer fantasy. I cannot fault viewers for enjoying RRR so much, whether they ironically lap up the superhuman stunts or get swept up in the thrilling anti-imperial action. I’m concerned more about the timing of it all, the global presence, the recipe for viral success that other filmmakers will be eyeing. It’s an ingenious form of soft-power propaganda, one that can be interpreted as positively asserting an otherwise-marginalized ideology. Other notable Indian films—the aforementioned Purab Aur Pachhim , LOC: Kargil , Gadar: Ek Prem Katha , and many, many more—have raised fiery nationalism to nowhere near the same viewership. RRR seems to have figured out an apt formula.

Already, it’s far from the only recent historical-fiction Indian blockbuster to soft-peddle nationalist ideology. This year alone, The Kashmir Files , praised by Prime Minister Narendra Modi, garnered controversy for giving Hindu nationalists more Islamophobic ammo through the use of alternative history. The Marathi period film Pawankhind whips up furor against the historic Muslim-led Mughal Empire , a sore spot for Hindutva acolytes. Even Rajamouli’s previous hits, like Baahubali , have been uplifted as “ the answer to all anti-Hindu Bollywood crooks .” You don’t have to take my word for it. You can read the words of Hindu nationalists themselves, in provocative headlines like this one: “ If The Kashmir Files Gave Liberals the Wounds, RRR Is the One Rubbing the Salt .”

In another context, I’d be excited about an adventurous Telugu-language film finally getting a wide-scale audience and bringing South Indian cinema to more of the world. But with RRR , I feel uneasy. I can’t say you shouldn’t experience this dazzling roller coaster of a movie, but I will say that you should keep your eyes open while doing so.

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