RRR Movie (2022) Review

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A fictional history of two legendary revolutionaries’ journey away from home before they began fighting for their country in the 1920s.


Well, I’ve always considered cinema curry as a directory of nanas tasty, the last date was Baaghi 3 (I made the French subtitles go there, it’s pretty good). A cinema excessive and cheerful, sincere and aware of his own qualities and defects, and this made him more sympathetic. With this, we switch to the serious, and this is all the more unexpected that he doesn’t deny any aspects of the cinema of India, which is yet condemned to the mignardise.

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RRR is a z series, which is a good movie. It contains all the excess that elicits laughter (the ridiculous) that is inherent in the Indian cinema, but it contains the emotional charge necessary to ensure that they are attached to the stakes and the characters, and it has based its plot around universal values that resonate today in our little hearts western: patriotism. Sincerely, this is not a big word here, it feels a patriot in the face of the invader, western white (but they are dirty English, so as French, we endorse) and we love to see those Tamils manly humiliate the roastbeefs on the dance floor and their marver the mouth to stroke bikes (it’s true, this film is based on true events, I am certain that the fighting with motorbikes is based).

3 hours is a long time, and yet it is so entertaining and generous that it was too much. Even Michael Bay would be hard to follow. A few plots are simple, an English sadist and a few sequences emotional using more violence than usual, and this is a film fender that allows you to reshuffle the cards after 2 hours of historical reconstruction pyrotechnics, with a small opening in the dialogue and a large propensity for stuffing pifs with the symbolism that is burning or that wets… The opening to the western cinema is evident in light of the rigour of writing that never forgets to burn his message, the identity of the film, retaining the same in the heart of her songs, and coming to get this as both films failed to have: consistency, both social and emotional.

Action cinema can offer a never-before-seen (Rambo and his arc of taphole are pale figures). As a national cinema, we share the quest for freedom of the Indian people. As a popular cinema, you immerse yourself in the quest for justice and a return to balance. RRR, it’s all of that, and was expected, not so much. Probably the aura of Braveheart, Indian, and nothing less… than an Untouchable. 😉

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