RRR box office | The Common Man Speaks

The last six months, ever since theatres re-opened all across India at the end of last year, have seen some major box office hits in India. The top three of them have been from the south Indian film industry. These include the likes of Pushpa: The Rise, RRR and KGF Chapter 2.

Interestingly, apart from their original languages, these films they have also done phenomenally well in its Hindi dubbed versions in the Hindi belts of India – regions where predominantly Hindi films work.

They have also outperformed quite a few big-ticket Hindi films that were expected to do well. This is forcing a lot of people to ask the question as to why south films are working big time in the Hindi markets these days, especially on social media.

Going by the films that have succeeded, the answer to the question is simple. These films are finding massive audience base because these are entertaining films. Over here, entertaining means absolute mass entertainers.

These are films where a popular hero (or heroes) with a good amount of fan following plays a rough and tough character who can beat the hell out of the bad guys, gets to mouth some heroic dialogues and shake a leg on fast dance numbers. Pushpa, RRR and KGF fall in these categories of films and were decent content-wise too. Hence they have achieved massive success all over the country.

This is also giving rise to the question whether Bollywood or Hindi film industry is on the decline. It is being said on numerous occasions that south industry is all set to dominate and put behind the Hindi industry. I read a lot enthusiastic comments on social media daily where someone or the other states that Bollywood is slowly getting finished or is sinking.

I personally feel these are baseless statements. One needs to understand that there has been a change in the way audience consumes films in the post-pandemic era. People are visiting theatres in large numbers only for massy commercial films that provide larger-than-life entertainment.

That’s the reason why the aforementioned south films have done so well. And that is also the reason why Rohit Shetty’s Sooryavanshi became a runaway hit and that too at a time when there was uncertainty at the box office. After all, it was the first big Hindi film to release post-pandemic and the producers themselves weren’t sure how it would perform. But it had non-stop entertainment and this was enough for the cash registers to start ringing.

The same can be said about the success of Gangubai Kathiawadi. It might be a film about the life of a sex worker but it was narrated by Sanjay Leela Bhansali in a larger-than-life and entertaining manner. It was also helped by the presence of superstar Alia Bhatt who showed as much confidence and swag as any hero in a hero-centric massy film.

The Kashmir Files is an exception as it’s not a typical Bollywood movie. It created massive interest for people of a particular political ideology who felt it’s their duty to watch this film in theatres. This doesn’t mean that those with a different political view didn’t see the film.

On the other hand, films like Chandigarh Kare Aashiqui, Badhaai Do and Jersey have failed despite getting positive reviews and word-of-mouth. This is because they were sensible, content-oriented films and not the larger-than-life masala entertainers.

Hence, as per the change in audience consumption, they didn’t do well in theatres. People are preferring to watch such type of films on OTT [over-the-top] platforms. Now, a film worth watching in theatre has to be a big-screen experience. A major proof of this change is that even someone like Ayushmann Khurrana, who was considered a bankable star before the pandemic, couldn’t help the cause of Chandigarh Kare Aashiqui.

Of course, Satyameva Jayate 2 was also aimed as a massy entertainer but the film got rejected because of its terrible content. The film at least needs to be decent to be successful. Because of the same reason, the Hindi version of Radhe Shyam sank despite the presence of the Baahubali actor Prabhas. The same was the cast with Vijay’s Beast. So it’s not at all big south films are doing well in Hindi.

There’s no denying that the quality of Hindi films in recent times hasn’t been up-to-the-mark or at high standards. The industry has been criticized for its obsession with remaking successful south Indian movies over and over again.

But this certainly doesn’t mean that Bollywood is sinking or is on the decline. It’s just that only commercial films with big stars and decent content are doing well right now because of the change in audience’s manner of consumption.

The big commercial films lined up for release from here onwards are expected to do well if the content is decent enough. Can’t say the same about films that are thought-provoking and not aimed at the masses as these films are now considered worthy only for OTT.

This will go on at least till the near future. After that, things may or may not change.

Also read:

Can we stop giving unreal reasons for 83’s box office failure?

Not many films receive the kind of enormous appreciation and humongous box office success like Baahubali: The Conclusion (2017) did. The movie made filmmaker SS Rajamouli a celebrated name across India. Such adulation is generally received only for star actors.

No doubt Rajamouli would have cherished such success. However, not many would have preferred to be in his shoes considering the huge expectations from his next. But despite such pressure and scrutiny, Rajamouli has not only made a film on a similar scale and even a higher budget but has also succeeding in hitting the bullseye yet again.

With RRR (Roudram Ranam Radhiram), he has given a masala entertainer worth celebrating.

RRR is fictional story featuring the real-life freedom fighters Alluri Seetarama Raju and Komaram Bheem. In the film, they are known as Ram (Ram Charan) and Bheem (Jr NTR). The story starts when a British family forcibly takes away a tribal girl with them after they are impressed with her singing and painting skills, despite her parents pleading and begging. Bheem, who hails from the same tribal community, is sent to Delhi to rescue the girl.

On the other hand, Ram (Ram Charan) works as a loyal cop in the British force. He is given the task of hunting down Bheem. They come across each other under unusual circumstances and become thick friends. Ram doesn’t reveal that he works for the British while Bheem also hides his identity. Bheem gets a shock when Ram betrays the friendship and arrests him for rebellion against the British government.

Three action sequences alone in the film are enough for your visit to the theatres – When Ram and Bheem meet for the first time, the long action sequence before the interval and the climatic war.

However, RRR provides much more than these paisa vasool moments. The story of the little girl, Ram and Bheem’s camaraderie, reunion and the climax are narrated through a screenplay that is fast as well as smooth by writer K Vijayendra Prasad (Rajamouli’s father).

On top of that, Rajamouli, as per his habit, has presented even the simplest of scenes as a visual treat; full of grandeur and style. His handling goes few notches higher while dealing with the aforementioned action sequences. The filmmaker has shown yet again that even a mass-pleasing masala entertainer can be presented in an artistic way.

He did the same in both Baahubali films and the result was such that even those who generally don’t prefer masala movies appreciated the films. Don’t be surprised if the same happens with RRR.

The technical aspects (cinematography, editing and background score) also play a major role in the film achieving high marks. There wasn’t much buzz about the music before the film’s release, at least for the Hindi version. But RRR’s songs suit the narrative and are pleasing to the ears too. The track ‘Nacho Nacho’ and the situation when it comes provides an electrifying effect.

After witnessing Ram Charan and Jr NTR’s chemistry, it is difficult to judge their performances individually. The two actors excel while displaying emotions and also during the wild action sequences. The writing and direction has given absolutely equal importance to both the characters.

Olivia Morris, as the British girl Jenni, becomes memorable despite the screen time. Ajay Devgn and Alia Bhatt do well in cameos. The child actress playing Malli impresses in a difficult role. The film doesn’t have much scope to the rest of the supporting cast.

Also read: The Kashmir Files review

Coming to the drawbacks, RRR’s pace dips a bit till sometime in the second half. The film also has the usual flaws when it comes to masala films where the focus is more on entertainment and less on logic.

But these issues don’t bother much after witnessing the exhilarating climax where the character of Ram actually fights while being Lord Ram.

Overall: RRR is an artistically made masala entertainer. The film needs to earn a huge amount at the box office in order to be called a blockbuster. It’s difficult to predict right now whether that will happen but the film surely stands a chance of becoming a hit.

Rating: 4 out of 5 stars

Director: SS Rajamouli

Producers: DVV Entertainment

Writers: KV Vijayendra Prasad and SS Rajamouli

Cast: Ram Charan, Jr NTR, Olivia Morris, Ajay Devgn, Alia Bhatt (the last two in cameos)

The Common Man Speaks

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Why south films are dominating? Is Bollywood on the decline?

RRR review: SS Rajamouli provides an artistically crafted masala entertainer