It is difficult for a less informed viewer to say anything about an Indian film. RRR, which premiered in our theaters based on its cryptic title alone. Some English-language sources indicate that these are the initial letters Height, Roar, rebellion (to stand up, growl and rebel), while another version is reported from the country of origin: these are abbreviations of the names or surnames of the director (S. S. Rajamouli) and two leading actors, as well as producers (Ram Charam and N. T. Rama Rao Jr). Whatever that means, the name itself does little to promote this semi-epic carnival, the apotheosis of the auto-exotic presented in the Baroque and no doubt attractive above all for its excess.

With the work and elegance of science fiction, action and adventure film codes, the Indian blockbuster (the country’s most expensive film) transforms two real-life characters into superheroes, leaders of India’s independence: Komaram Bhima, a tribal leader who fought for the liberation of the state of Hyderabad, and Alluri Sitarama Raju, who led the war against the British in Andhra Pradesh. The script of the film, also written by the director, imagines the meeting and friendship of two real characters, and also neglects all realism in order to achieve a story full of exciting adventures and turn both leaders into fantastic superheroes capable of destroying the world. stop the fiercest of tigers with your bare hands, or stop the bike in full gear. Because both main characters had to go through an intense training program in order to achieve the looks needed by viewers who adore stars like Vin Diesel or Dwayne Johnson.

In order to bring this all-out spectacle of frenetic energy to the screen, any ambiguity in character design is deliberately avoided, and any believable or dark nuance is kept to a minimum in order to link the biographies of such historical figures. Rather, all of the viewer’s mistrust is entirely suspended by the amplification of adventure movie clichés: friendship, loyalty and honor among the heroes, rescuing a damsel (in this case, a girl kidnapped by the British), villains and colonizers against the brave, and libertarians, to the point where both sides look like a bunch of caricatures. , and of course, a feast of digital effects in terms of visual recreation of spectacular actions, including penetration into the plot of the song Naatu Naatu, which enjoyed universal popularity, including at the Oscars. Perhaps it’s time to warn the viewer that there is far less music and embellished romance than most standard Bollywood productions.

Due to some of the above factors, it is relatively easy to understand the massive popularity the film has gained inside and outside of India, to the point of supplanting the exuberant and hugely popular production of Bollywood (centralized in Bombay) to enthrone Tollywood, thus named . from the Telugu language spoken in the state of Andhra Pradesh, on the southeast coast of the country. And while a film made to please and seduce can be expected to be a commercial success, the explanations for some of the highlights are less obvious, such as the National Board of Film Critics’ listing of the best films of the year or the fact that it became the first Indian and Asian film. received the Golden Globe from the foreign press. Because such highly specialized journalists have never seen enough merit in the impressive achievements of Japanese, Chinese, Korean, Iranian, Israeli, Turkish or even Indian cinema, a country that produced undeniable classics, never recognized by reporters trying to present us with some touching polychromy. what an unfading achievement.

Inspired by films based on true events such as American. Inglourious BasterdsQuentin Tarantino, or others that brought the cinematic hero closer to certain real-life circumstances, such as the Brazilian-Argentinean motorcycle diariesRajamouli perfectly understood not only the hero’s journey in Western cinema, but also fully perceived the epic-mythological essence that Ramayana And mahabharataboth narratives date back to the 3rd century BC. It should also be borne in mind that a shower of special effects and spectacular sequences decorates the story, which speaks deep down about the need for mutual understanding, and even brotherhood between people of different faiths, which is essential in a country that has suffered from fratricidal struggle between Muslims and Hindus.

If dealing with transcendent political, social or historical themes were enough to be included in the list of great films, we should already RRR in a prominent position of our preference, but then we would also have to admit the supposed superiority of other very famous and recent films such as Avatar, water pathfor his weak strokes of anti-imperialism, protection of native culture and protection of the environment; Everything everywhere and at the same timefor her notes on migration, empowerment, and filial issues; And Black Panther: Wakanda Foreverthrough the commercial manipulation of race, gender and African independence.

Because some modern filmmakers, both in Hollywood and beyond, dress up certain complex topics in the triviality of a good piece of science fiction or action and adventure cinema, and in this way simplify messages, meanings, and mystify a seemingly transcendent essence. storytelling to encapsulate it in a compelling visual for most. As soon as we observe a systematic frivolous attitude to big questions, we can accept without conscience RRRand even to enjoy its colossal visuals and staging, and even to feel like a child again, to enjoy, from naivety, unbridled heroism, three hours of childish and dazzling cinema, one that saturates the eyes, but leaves it empty, untouched., your spirit.

Source: Juventud Rebelde