For the two hours, you might spend watching Jared Leto sulk around a Sony/Marvel B-side that somehow reportedly can’t muster the artistic integrity of the “Venom” movies, you could jump into one of the best international films released in American cinemas over the last few years. Part Sergio Leone, part David Lean, part Martin Campbell, part Michael Bay, part Quentin Tarantino, all Tollywood historical action epic extravaganza, “RRR” is more than enough proof that it’s high time stateside audiences prepare themselves for the rise of a globalized cinema, one that is, quite frankly, probably schooling our asses in the fine art of studio filmmaking.
Telugu cinema powerhouse director S.S. Rajamouli mounts a walloping spectacle with “RRR,” a musical action buddy historical epic (true story) set against the backdrop of a 1920s India mired in the evils of British colonization. The film intersects the story of two men, one an Indian police officer (Raju, played by Ram Charan, one of India’s most bankable leads), one the protector of a vulnerable tribe (Bheem, played by veteran Indian actor N.T. Rama Rao Jr.). The two become the most unlikely of best friends, with Raju attempting to climb the ranks of the British-controlled troops and Bheem trying to free a young girl who was kidnapped by the very forces that Raju aims to protect. The pair’s destinies collide amidst the flames of revolution, against the cries of a people who have long been subject to foreign rule and who aim to reclaim the land that is rightfully theirs. From there, Rajamouli amps up the volume to 11 and stages some of the wildest action scenes this side of Bayhem. Sure, America has the Avengers, but do we have a Trojan horse filled with wild jungle cats and various jungle beasts unleashed on malevolent British soldiers and socialites
The magic of “RRR” is likely the fullest display of an entire world of cinema most Western audiences aren’t super familiar with. While tropes of Bollywood/Tollywood films can be found all over the place (Marvel’s recent “Eternals” film featured a superhero who moonlights as a Bollywood star), “RRR” is the full bonanza, the full-throated victory chant that may help open up American audiences to a wider array of films out of the Indian film industry. “RRR” is stunning crossover appeal; if you can brace yourself for the three-hour run time and pay close attention at first to root yourself in the time period, it won’t be hard for any causal moviegoer to slip right into Rajamouli’s wonderful epic, one born of pride of country and pride in heritage. As the world watches one nefarious superpower lay waste to an innocent country that has taken arms to defend itself, a film like “RRR” also holds a surprising amount of relevancy. “Rise, Roar, Revolt” are the 3 Rs that make up the film’s abbreviated title, a battle cry for today just as it was for those subject to colonialism during the height of the British empire.
Interestingly enough, “RRR” does have direct ties to the Ukraine, as some of the film, including an anti-colonialism dance-off musical sequence set to the year’s most catchy movie tune yet (“Naatu Naatu”), was filmed in the war-sieged country. Rajamouli has gone on record to express his concern for the crew that helped him pull off his generational epic, and star Charan has helped provide financial support for someone who provided security during the film shoot. He added that the security guard’s father, an 85-year-old man, is fighting in the war to free Ukraine from Russian invaders. “RRR” indeed carries hyper-relevance in its themes and in its soul. Though it at times is certainly jubilant and defiant, like during its electric “Naatu Naatu” musical number, there is also a mourning for the subjugation of innocence in the face of greed and totalitarianism. In another haunting scene, Breem is being tortured by the British government, and it’s his strength under pressure that inspires the Indian people witnessing to fight anew.
While “RRR” certainly has a lot on its mind for what its themes mean for then and now, Rajamouli never forgets to ramp up the tension and craft some of the most impressive action sequences this side of the Fury Road. Whether it’s a hair-raising rescue attempt, a hand-to-hand brawl, a “Rambo“-esque finale filled with bow-and-arrows and spears or, yes, a jungle cat assault on an uppity soiree, Rajamouli’s momentum and M.M. Keeravani‘s pulse-pounding score rattle the theater and imprint the same “did you just see that?” spirit of mayhem and adrenaline as some of the previous decade’s best action sequences.
To seek out something new, something unexpected, is part of why the theatrical experience is so near and dear to so many of us. In a market that rarely rewards in surprise for spectacle-driven entertainment, “RRR” feels like a godsend. The film’s soaring success overseas and respectable North American box office haul so far ($12.8 million, second right now of all-time for an Indian release) marks this a historic moment for Indian cinema on American shores. “RRR” has the power to transport you back to the epics of old, times where studios were willing to invest millions of dollars and mounds of resources into high-flying historical extravaganzas that remind you of the power of the silver screen. Like “Parasite” and “Drive My Car,” it feels like the type of international release that could remind American moviegoers to look past the art being made at home and immerse themselves in the beauty of global cinema. People who hand-wring about movies being dead really need to check this one out. “RRR” proves that, yes, cinema is alive and well, but only if you’re willing, every now and again, to look past your backyard. [A]