![]() Just the balls to show an entire one-on-one fight between a man and a tiger (and it's long) without worrying about it ever getting silly is ambitious by itself, and it's just extremely well-executed. The second fight scene is a man attempting to lure in a wolf, but accidentally lures in a tiger instead, and must incapacitate the tiger. The character taking on the crowd gets his shit rocked, nearly suffocating in the press, until he learns to use its mindless movement against it, directing the momentum into buildings and off ledges to give him room to breathe. Despite basically being a 5000-to-1 fight, the movie never resorts to lazy superhuman antics or convenient plot armor. The very first action scene of the movie is a single character fighting his way through a huge riot, packed too tightly to move. Every action setpiece in the movie is just so ambitious. Second, the action setpieces: what's cool about this movie compared to its superhero forbears is that its unique setting and characters lend itself to some really cool fight scenes. It's interesting seeing how it's influenced the way we tell stories in the mythological archetype, and that's on full display in RRR. It uses a medium that's traditionally considered irreverent - cape shit instead of musical theater - to create a surprisingly reverent celebration of the people and ideas underlying the known history.įor me, that sort of deepens the whole superhero genre. That's why its a musical instead of a biopic, right? RRR uses the language of superhero films the way Hamilton uses the language of musical theater: as a tool to tell a symbolic and cultural truth while eschewing the need to remain "grounded" in the reality of fact. Like RRR, Hamilton tells an ostensibly "true" story, but isn't really concerned with historical fact so much as conveying the emotional truths of the story - the struggles, the heartache, the fear, etc, and how it affected our culture. That's kind of esoteric, but I think a good analog in American culture is Hamilton. So the movie isn't trying to familiarize you with real historical characters, but rather to tell the emotional truths of the era and the people that made it - to characterize and relate to them through their personal mythologies. The director recognized something really cool about superhero movies: that while they may not be great at telling the facts of a story the way that, like, a biopic can, what they are really excellent at is conveying the emotions of a story through less literal means. Once I really grokked that, I was in love with the idea. The reason for that is that, from a structure standpoint, RRR is a superhero film. It's ostensibly a movie about real people, but the content of the story is completely fictional. I just want to really quickly highlight three things: the structure/direction of the film as a whole, the action setpieces, and the performances.įirst, the structure: this is what immediately hooked me on this movie. Not only is it an extremely charming movie, but it's just so ambitious and well-executed. ![]() I've watched it like five times now, it's my new favorite comfort film. I saw a reference to it in a comment a couple weeks ago in the context of movies that feature especially strong or wholesome friendships (which it does) and I saw it was on Netflix, so I gave it a shot. RRR (2022) is a Bollywood movie that takes place at the height of British Imperial rule in India, and focuses on the "origin stories" of two real-life revolutionaries, Alluri Rama Raju and Komaram Bheem. I'm probably very late to this party, but I'm a sheltered white guy and I don't get opportunities to see a lot of Bollywood movies, and there are probably other people like me out there that are missing out on this one. Reposted because I had the release year wrong in the title.
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