RRR box office overseas collection: On its release day, RRR managed to do a business of over ₹38 crore in the US alone and opened strongly in other ...
RRR is a fictional story set in the 1920s pre-independent era and is based on the lives of two real heroes and well-known revolutionaries – Alluri Sitarama Raju ( Ram Charan) and Komaram Bheem ( Jr NTR). The film has opened strongly in other overseas territories as well. From its premiere shows alone, RRR became the first Indian film to breach the $3 million club.
Film critic Anupam Chopra, who was present in the audience, wrote the show was stopped after the first half as the theatre manager did not know that there ...
Went to Cinemark North Hollywood First day first show of RRR. Saw first half but not the second because the theatre had not ingested it. Went to@CinemarkNorth Hollywood #firstdayfirstshowof #RRR. Saw first half but not second because theatre had not ingested it. Bollywood fans queued up at theatres around the world to watch the first-day first show of director SS Rajamouli’s magnum opus RRR on Friday. After all, how can any movie buff not be excited about the most anticipated film of the year?
And who are the behind-the-scenes superstars of this hypnotic saga? Well, besides director S.S. Rajamouli—undoubtedly India's answer and more to Steven ...
Leave aside their spellbinding dance moves in Naacho naacho and Sholay (the choreography by Prem Rakshith is another highlight), their chemistry is superlative, and their individual performances superb. The friendship is tested to the hilt in their respective missions. Ray Stevenson (Thor) and Alison Doody do a good job as the main villains. Rajamouli is self-confessedly inspired by two real revolutionaries who never met (but in this film they do!) and also The Motorcycle Diaries, a 2004 Spanish biopic on a revolutionary. Dosti and Komuram bheemudo are melodious, but reminiscent of Kreem’s rousing songs in the Bahubali franchise—and Kreem has never been repetitious earlier, unlike his more celebrated Southern colleague in Hindi cinema! Komuram Bheem (NTR Jr.) is an Adivasi Gond tribal whose sister Malli is taken away by the tyrannical Britishers for being adept at applying mehndi. Apologies to Vidya Balan’s The Dirty Picture—this is leagues ahead in scale and quantum of manoranjan! After ages (thanks to Hindi cinema’s superstars’ egoistic aversions to co-star with each other in full-fledged leads), have we got a male-bonding saga. And Ram has a backstory and a deeper aim, which sometimes involves sacrificing some of his countrymen (!) for a wider cause. They are the true-blue superheroes that make the on-screen superstars NTR Jr. and Ram Charan larger-than-life. And who are the behind-the-scenes superstars of this hypnotic saga? One important element that is missing here vis-à-vis Kreem’s earlier best is good lyrics—Riya Mukherjee pens the functional words here.
RRR movie review: The film casts not just one super-star, but two of them – Jr NTR and Ram Charan. The biggest super-star among them all is SS Rajamouli and ...
The secret of making us believe is the filmmaker’s complete conviction, and Rajamouli is a dab hand at it: at one delirious point, Ram and Akhtar clasp hands across a burning bridge, with a banner running across the screen: India, 1920. RRR also proves that while the overarching iconography of his films is Hindu, just like in ‘Baahubali’, it is entirely possible to use it without demonising, or othering minorities, even giving the latter a brief look-see in the proceedings. That, for Indian filmmakers and viewers, there will never be a greater, more durable fount of stories than the Ramayan and the Mahabharat. That, if you want to be really safe, you cast not just one super-star, but two of them.
Baahubali series director S.S. Rajamouli returns with another three-hour action epic, this time inventing a crowd-rousing history where real-life Indian ...
The dynamic between Bheem and Raju has shades of the macho bromance of John Woo’s 1980s movies, until it transforms into a superhero team-up. Raju has a sweetheart back home — his childhood friend Sita (Alia Bhatt), to whom he pledged eternal loyalty before leaving his village to join the Indian Imperial Police. So he acts as Bheem’s wingman, helping Bheem charm sympathetic Englishwoman Jenny (Olivia Morris) with his aw-shucks attitude and impressive dance skills. Rajamouli is skilled at balancing the film’s many elements, so “overstimulated” isn’t quite the word for how walking out of RRR feels. Jr NTR (the common abbreviation for N.T. Rama Rao Jr.) and Ram Charan, both Telugu superstars in their own right, show off those skills in the rousing “ Naatu Naatu,” RRR’s only real musical production number. [Ed. note: We recommend viewers check local listings or contact the theater to make sure you’re catching the version of RRR you want to see. Bheem trips and knocks a silver tray out of a waiter’s hand at a garden party? This last point makes its way into RRR, as part of a storyline that reframes Raju as a supercop on a mission to take down the British power structure from within. Picture Benjamin Franklin and Paul Revere joining the MCU, with Franklin harnessing the power of electricity, and Revere the swiftness of the wind. They’re two strangers who agree with a nod to embark on a dangerous impromptu rescue mission to save a little boy trapped by a flaming train accident on a Delhi river. There’s a similar moment in RRR (“Rise Roar Revolt”), S.S. Rajamouli’s action-drama hybrid about the adventures of two Indian revolutionaries who have divergent approaches to resisting British occupation in 1920s Delhi. The difference is, in RRR, it’s just one of half a dozen scenes of its kind. RRR explains gaps in both men’s histories by proposing that they became friends after they each made their way to Delhi in the early 1920s — Raju as an undercover imperial cop, Bheem on a rescue mission to save a village girl kidnapped by a colonial governor. Raju, meanwhile, led guerrilla attacks on imperial police stations, seizing British guns and ammunition to level the playing field between colonizer and colonized.
The highly anticipated and Covid-delayed release of Indian action film RRR opened with a bang as distributor Sarigami Cinemas said it has grossed $4.5 ...
It’s said to be one of the biggest-budget Indian films ever. The story is set in 1920s New Delhi amid the Indian freedom movement. As Deadline reported last month, the genre has helped fill a void at the box office this winter and spring, stepping into multiplexes amid a dearth of new releases and playing on a handful of screens at a time in at least three languages including Hindi, Telegu and Tamil. (They’re the only foreign films that don’t play arthouses.) Telugu-Hindi period romantic drama Radhe Shyam had a strong opening on March 11 on 750 screens, already a much wider-than-average release for an Indian film (though below RRR‘s) and in fact the widest of that weekend. The film was supposed to come out in early January and $2 million in presale tickets had to be returned to customers when released was delayed due to Omicron, said Sarigami. It had originally been set to premiere in 2020, then in 2021. The highly anticipated and Covid-delayed release of Indian action film RRR opened with a bang as distributor Sarigami Cinemas said it has grossed $4.5 million including late-night and early-morning shows and anticipated a $12 million-$15 million weekend. This is director-screenwriter Ramajouli beating his own record, namely the 2017 epic action adventure Baahubali 2: The Conclusion. That film, a sibling rivalry set in medieval India and made in Telegu and Tamil, was a follow-up to Baahubali: The Beginning. Ramajouli’s large fan base is turning out for RRR.