RRR (2022)
187 min|Action, Adventure, Drama|25 Mar 2022
7.8Rating: 7.8 / 10 from 175,278 usersMetascore: 83
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.

RRR has recently become a byword for its extraordinary achievements. Not only commercial success but also a critical success. This is a rare achievement for mainstream Bollywood films, apart from Lagaan (2001), which won an Oscar nomination for the best foreign language film category at the time. Until now, RRR has been noted as the winner in the Hollywood Critics Association, New York Film Critics Circle Awards, Atalanta Film Critics Circle and others. What’s more, this film is listed as the most expensive film in India, with a production budget of USD 72 million. Wow, what’s with the RRR? Why it’s so special? I was intrigued to watch the film, even though it was somewhat late.

RRR was directed by S.S. Rajamouli, who also directed the successful series Baahubali. Along with the Baahubali series, RRR is a typical masala (Indian musical) film, usually in its original language, Telugu. As we know, mainstream Indian films (box office) are dominated by Hindi. Telugu/Tamil language films with commercial success like the three above are extremely rare. Rajamouli, who has produced two successful giant epic films, made RRR easy. This film stars N.T. Rama Rao, Ram Charan, Alia Bhat, Ajay Devgan, Ray Stevenson and Olivia Morris.

The story film is set in 1920 when the British were still colonizing India in an authoritarian manner. Governor of England, Scott Baxter and his wife visited the Gondi tribe in the interior. The wife, amused by the golden voice of a little girl, forced her into town by brutally killing her mother. The tribal guard, physically stronger than a Tiger, Bheem (Rao), slides to Delhi to bring back the girl. This was heard by the British. They also send an ambitious and tough local officer named Raju (Ram) down to the field. However, after the heroic rescue of a citizen by Bheem and Raju, the two become friends without knowing that they are actually on the opposite side.

With more than 3 hours, it gives the impression that RRR is one tiring spectacle. On the contrary, the fast-paced plotline provides entertainment with crazy actions that are impossible for western films. With absurd Bollywood-style actions, this film presents a series of entertaining, non-stop actions. One example is a segment where Raju has to face hundreds of masses protesting brutally. Like a superhero, Raju chased away the demonstrators only to catch one mastermind behind the riots. There is nothing logical in action, but the absurd side gives a visual experience that we rarely see in the medium of film.

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The action and the musical segment are also presented colossal, although less than the usual masala films. It was recorded that only two major musical segments were introduced, namely at a dance party in Delhi and the closing credit, where all the stars danced beautifully. When it comes to dancing, masala films are the masters, and RRR presents them in a classy style. One more thing, it’s not a masala film if there’s no romance in it. Although not dominant, the relationship between the two main characters and their love interest is also presented well. At least the two female figures are not just story patches.

With all the typical attributes of mainstream Indian films, RRR is maximum entertainment for the audience, even though the plot holes are as many as the bullets in the movie. Endless physique. Infinite bullets and arrows. Tons of enemies. The hero who never dies. How much is human endurance? Not to mention, the plot is always wholly coincidental. Hey, it’s a masala movie, man! Nothing is impossible here. The audience there is crazy about this kind of romance and over-the-top action. Aren’t you amused? Yes, I am very entertained, sometimes amused by the act, laugh at the humorous side, and sometimes it hurts to see the bitter side of romance and amazed for the hundredth time to see the classy musical sequence (masala film). After dozens or even hundreds of similar movies from many decades, it is somewhat surprising that observers and connoisseurs from the West finally consider one of his works (RRR) a particular work. Lagaan is much more elegant than RRR. Or maybe this has something to do with the death of the Queen of England some time ago, which became a symbol of the British Colonial Golden Age? Who knows?

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A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.

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