Hello guys today we are back to Proud of Indian Cinema. .
Today we are going to talk about blockbuster movie, one of the best Creation of S.S. Rajamouli. . .
RRR
Introduction of movie RRR.
Made on a budget of ₹550 crore ($72 million), RRR is the most expensive Indian film to date. Most of money was spend on VFX. So in this movie VFX are so amazing you can see it how good quality VFX are here
The film was initially scheduled for theatrical release on 30 July 2020, which was postponed multiple times due to production delays and the pandemic. RRR was released theatrically on 25 March 2022, and received universal acclaim for Rajamouli's direction, cast performances (particularly Rama Rao and Charan), soundtrack, action sequences, cinematography, VFX, and writing. With ₹240 crore (US$30 million) worldwide on its first day, RRR broke the record for the highest opening-day collection earned by an Indian film. RRR emerged as the highest-grossing film in its home market of Andhra Pradesh and Telangana, grossing over ₹415 crore (US$52 million) and surpassing Rajamouli's previous film Baahubali 2. The film grossed ₹1,111–1,200 crore (US$150–160 million) worldwide, setting several box office records for an Indian film, including the third-highest-grossing Indian film. RRR is nominated in three categories at the 47th Saturn Awards including Best Action / Adventure Film, Best International Film, and Best Director.
Now Some More about RRR
A fearless revolutionary and an officer in the British force, who once shared a deep bond, decide to join forces and chart out an inspirational path of freedom against the despotic rulers. Rajamouli came across stories about the lives of Rama Raju and Bheem and connected the coincidences between them, imagining what would have happened had they met, and been friends. The film was formally announced in March 2018. Principal photography of the film began in November 2018 in Hyderabad which continued until August 2021, owing to delays caused by the COVID-19 pandemic. The film was shot extensively across India, with a few sequences in Ukraine and Bulgaria. The film's soundtrack and background score is composed by M. M. Keeravani with cinematography by K. K. Senthil Kumar and editing by A. Sreekar Prasad. Sabu Cyril is the film's production designer whilst V. Srinivas Mohan supervised the visual effects.
So guys I hope that you have understood about RRR.
Now come to point
The full form of RRR is
Rajamouli, Ram Charan and Rama Rao.
In this movie Rama Rao is playing role of Bhim and Ram Charan is playing role of a police man named Ram. They both are good friends
The movie is so amazing. . .
The Telugu language Indian action epic “RRR” (short for “Rise Roar Revolt”) has returned to US theaters for an exceptional one-night-only engagement on June 1st following its initial theatrical release. Some hindsight has made it easy to guess why writer/director S.S. Rajamouli has only now broken through to Western audiences with “RRR” despite his consistent box office success. Rajamouli’s latest is an anti-colonial fable and buddy drama about the imaginary combo of two real-life freedom fighters, Komaram Bheem (N.T. Rama Rao Jr.) and Alluri Sitarama Raju (Ram Charan). “RRR” is also a fine showcase for Rajamouli’s characteristic focus on maximalist action choreography, overwhelming stuntwork and pyrotechnics, and sophisticated computer graphic
By the time he made “RRR,” Rajamouli had already developed his brand of Nationalistic self-mythologizing with some help from recurring collaborators like regular story writer (and biological father) Vijayendra Prasad and both co-leads, who previously starred in Rajamouli’s “Yamadonga” and “Magadheera,” respectively.
Set in and around Delhi in 1920, “RRR” pointedly lacks historical context so that Rajamouli and his team can transform a straight-forward rescue mission into a rallying cry for reunification and also cathartic violence. Bheem, the avenging “shepherd” of the Adivasian Gond tribe, visits Delhi to track down Malli (Twinkle Sharma), an innocent pre-teen who’s kidnapped from her Gondian mother by the cartoonishly evil British Governor Scott (Ray Stevenson) and his sadistic wife Cathy (Alison Doody).
Raju, a peerless Colonial police officer, befriends Bheem without realizing that they’re at cross purposes: Bheem wants to break into Scott’s fortress-like quarters to rescue Maali while Raju wants to catch the unknown “tribal” that Scott’s lackey Edward (Edward Sonnenblick) fears might be lurking about. Raju and Bheem immediately bond after they save an unrelated child from being crushed by a runaway train, as clear a sign as any of Rajamouli’s love for Cecil B. DeMille-style melodrama. (“Ben Hur” is an acknowledged influence for Rajamouli, as are the action/period dramas of fellow DeMille-ian Mel Gibson).
It’s also fitting that “RRR” is Rajamouli’s big breakthrough since it's inevitably about Bheem as an inspiring symbol of quasi-traditional, boundary-trampling patriotism. Rajamouli has gotten quite good at incorporating potentially alienating elements, like his cheap-seats love of grisly violence and brash sloganeering, into his propulsive, inventive, and visually assured fight scenes and dance numbers.
Rajamouli has also already perfected the way he works with and uses his actors as part of his shock-and-awe style of melodrama. Rama Rao is ideally cast as the naively sweet-natured Bheem, whose messianic qualities are also effectively high-lit in a handful of rousing set pieces, like when a bare-chested Bheem wrestles a tiger into submission. Rama Rao’s performance isn’t the main thing, but it is the emblematic inspiration that, along with a “Passion of the Christ”-worthy scourging, understandably leads an assembly of Indian nationals to attack Scott and his bloodthirsty hambone wife in a later scene.
Likewise, Charan’s steely-eyed performance in “RRR” is limited, but strong enough to be credibly superhuman. Rajamouli knows exactly how to capture his best sides, as in an astounding opening action scene where Raju descends into a rioting mob just to subdue and apprehend one particular dissident. Rao and Charan’s bro-mantic chemistry and syncopated physicality have already made a viral success of the movie’s splashy “Naatu Naatu” musical number, but that scene’s infectiously joyful presentation is supra-human by design.
The spirit of the individual matters more than any single person in Rajamouli’s movies and “RRR” is a perfect expression of that notion. It’s also a decent reflection of Rajamouli’s fame, which Film Companion South’s Sagar Tetali keenly suggests is “the triumph of directorial ambition over the actor-star—the triumph of a brand of storytelling over the South Indian star images."
With “RRR,” Rajamouli repeats his preference for one nation under populist ubermenschen. Both Bheem and Raju are extraordinary men because they are, at heart, aspirational expressions of the people’s will. Their lives, their loved ones, and their relationships are all of secondary importance—check out Bollywood star Ajay Devgn’s explosive cameo!—so it makes sense that the cast’s images and performances are also blown up to James Cameron-sized proportions.
Like Cameron, Rajamouli has earned a reputation for pushing the limits of industrialized pop cinema. In that sense, “RRR” feels simultaneously personal and gargantuan in scope. Film Comment’s R. Emmet Sweeney is right to caution viewers regarding the towering streak of “Hindu-centric” Nationalism and characterizations at the heart of Rajamouli’s “Pan-Indian address.” Sweeney is also right to hail Rajamouli’s dazzling “technical innovation.” It’s not every day that a new Indian movie—which are typically not advertised to Western viewers beyond indigenous language speakers, and therefore largely ignored by Western outlets—is presented as an event to American theatergoers.