Rabid Racy Resplendent movie of epic proportion: My quick take on Rajamouli’s “RRR”
At last, after rescheduling the release of movie which was badly hit by pandemic. Magician Rajamouli is back with another brilliant film on the scale of Bahubali. This film is a textbook example of a "masala potboiler," as it checks all the boxes that an Indian blockbuster must-have. It has drama, dialogues, duals, foot-tapping numbers, great visuals, and over-the-top action, and Rajamouli is adept at garnishing every scene with some spectacular VFX. Every scene in the film is beautifully manicured, whether it's a crowd scene, out-of-the-box action, or a dance number; everything is meticulously detailed. Rajamouli Garu, please take a bow.
There is a Toastmasters pathway dedicated to presentations called "presentation mastery" (which I am pursuing), but instead of going through the rigors of the pathway, one can simply watch Rajamouli's work to learn more about presentation mastery. It's a classic example of how to take a mediocre story and turn it into a blockbuster. While some purists believe that "content is king," the Rajamouli school of filmmaking believes that "presentation" is king.
The plotline will please our Manmohan Desais and Manoj Kumars because it includes a Milna-bichadna plot, a dosti-dushmani angle, desh bhakti tadka, and a pre-independence era plot setting. Junior NTR and the dashing Ram Charan are the main characters in the story, and both have given their best performances to date. Junior NTR plays a Gond Tribal who travels to Delhi to rescue a Gond girl child who has been forcibly moved to the capital, and Ram Charan plays a 'wafadaar' police officer of Raj. Ajay Devgan and Alia Bhat were added primarily to increase the film's pan-India appeal, as their roles are brief but significant. The Firnagi cast is impressive; it's great to see the film producers fly in real firangis for the roles; otherwise, we'd be sick of seeing Tom Alters and Bob Cristos in British uniforms. Another plus was that all of Firangi's dialogue was in English, making it appear more credible.
The screenplay is very racy, and some of the action scenes are simply awesome. The cinematographer has captured the pristine landscapes beautifully, and full marks to production designer Sabu Cyril for beautifully recreating the Victorian era, which included not only the sets of the bygone era, but also the guns, costumes, cars, and motorcycles. Nacho Nacho Song, with its foot-tapping music and electrifying steps, is bound to become a national sensation. VFX has enhanced the grammar of this movie, there is one sequence of catching the Tiger in the jungle, it is simply awesome. I am not sure if Hollywood technicians were used to creating this VFX, if not, one can be proud of our animators for coming up with an international quality visual effect.
Because it is a masala film, we should rest our left brain as it will be futile to find 'logic' in many scenes, but the overpowering creativity, with some breathtaking actions coupled with seeti podu dialogs, will keep you on the edge of your seat for two and a half hours. The film was shot in lavish proportions, so it will be a visual treat if you can watch it on IMAX's large screens; a few of the action scenes are tailor-made for 3D effects. Unlike in Radhe Shyam, the main actors' Hindi dubbing in this film is quite impressive.
If “The Kashmir Files” has brought the country together by making them cry, RRR will bring the country together by making them dance to the tune of nacho nacho. This is a blockbuster in the making, so don't miss Rajamouli's magnum opus.
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