There’s a great movie in limited edition now that you probably haven’t even heard of: $$$$.
Filled with colorful heroes, diabolical villains, amazing action sequences, amazing dance numbers, and most of all, virtuous friendship, the movie Driven by frantic creativity and an unmistakable sense of pride for the people of India and their history. Writer and director SS Rajamouli’s Telugu-language epic has become the sensation of the year. what or what Top Gun: Maverick It hit theaters immediately upon its release in May—a joyful sense of escape from reality, cinematic grit, and expert play on the audience’s heartstrings—$$$$ On a larger scale, if possible. And on the big or small screen, you simply have to see it.
Telugu cinema, often called ‘Telewood’, should not be confused with Bollywood which holds the Hindi language standard in India. While there are some similarities between Hindi and Telugu titles, including bright colors, ambitious musical numbers, and operatic storytelling, Telegu films are created and produced in their language of the same name. $$$$, In particular, it has much in common with Hong Kong and American action films, as well as a global interest in historical fiction. Telugu films often don’t make that kind of impression on American audiences – in part because so few of them get international distribution. but in the wake dissidentNeedlework takes on ’80s nostalgia, $$$$ It sounds just like the kind of movie that audiences want and need right now.
Even without the daring movie stardom of someone like Tom Cruise at the helm, $$$$The relentless ability to please audiences – first in its initial theatrical release, then in special event shows, and finally as part of Netflix’s streaming library (albeit in a different language) – has propelled the film from attracting counter-programming to an international sensation. While $$$$ Undoubtedly a product of the film community for which it was originally made, its growing success underscores the expansion of cinema as a platform to explore different cultures and different traditions, as well as the universality of the well-told story.
The story of enemies who became best friends
Set in India in the 1920s, the film stars NT Rama Rao Jr. In the role of Bheem, the warrior and protector of the Gond tribe. He travels to Delhi to rescue a young girl named Mali (Twinkle Sharma) after she is kidnapped by tyrannical British ruler Scott Buxton (Ray Stevenson) and his wife Catherine (Allison Doody). When a provincial official warns the British about Bheem’s mission, Buxton asks his volunteer, Officer A. Rama Raju (Ram Charan), to arrest Bheem in exchange for his promotion into the ranks of the state police. Although Fahim has kept his identity hidden, the two men meet while rescuing a young boy from a train accident, and soon develop a strong friendship without realizing that they are actually rivals.
While cinema, locally and globally, participates in an ongoing referendum on representation, diversity and the idea of ’for whom certain stories are’ $$$$ Explains that moviegoers can have multiple access points for a movie. Suffice it to say that Rajamouli’s film does not paint a particular picture of British rule of India; Stevenson and Dodi are tough and tough. But $$$$The sense of nationalism should be familiar to anyone who has seen a movie about America (or China or…), and its focus on the liberation of the Indian people can easily be translated – or carried over – to more recognizable beaches and situations. The film is inspired by the identities of two real-life Indian revolutionaries, Kumaram Bhim and Aluri Sitarama Raju, and uses some extensive historical detail to give it specificity and a sense of urgency.
From familiar metaphors to cinematic triumph
However, perhaps more important is how to do it $$$$ It taps into a common cinematic language—the conventions of action movies, musicals, and old-fashioned melodramas—to create a nearly non-stop journey that is as exciting as it is (often) incredible. Fans of Hong Kong’s “heroic bloodshed” and American action films from the ’80s and ’90s will find plenty to enjoy as Bheem and Rama become emotionally invested in their mutual friendship; One could easily see Zhao Yunfat in booze the killer or boiled He lay like Fahim, a principled warrior betrayed by blind affection. Rajamouli’s script creates powerful plots that define the character’s progression, set the stage for the social, political, and personal challenges they will face (both separately and societally), and then find creative ways to move the story forward, not always completely. Linear fashion.
$$$$ It also has one of the best dances I’ve seen in a movie. Fahim, innocent of the cultural practices of the country’s oppressors, receives an invitation from Jenny (Olivia Morris), Buxton’s affectionate niece, to the governor’s mansion, after they fall in love with one another. When an arrogant English party-goer bullies Fahim for his mastery of Western dances, Rama steps in, encouraging his friend with “Natu natto” (he started with a single on the drum), and soon the two take over the dance floor as the rest of the guests try to continue their blinding acts. The scene not only shows Bheem and Rama’s devotion to each other, but it reinforces the characters’ cultural pride – and highlights the Brits as carelessly narcissistic brats.
Beyond the broader premise of a cop and a criminal developing a friendship based on mutual respect, Rajamouli borrows a lot of ideas the audience has seen before, in a way without making them seem recycled or repetitive. The backstory of Rama is suitably complex – also born in a rural village, but driven to defend his people from within the prevailing power structure rather than outside, as Bhim does – and the film generates moral complexity from the idea of sympathy, at least superficially, with an instrument of the state whose main goal is to stop Correcting an indisputable injustice.
His bow vaguely resembles Quentin Tarantino’s Django Unlock Djangoor police student Chan Weng Yan Fe Infernal Affairs (Leonardo DiCaprio later brilliantly reimagined it in the late) as the protector or freedom fighter who must work to deceive — “to plot,” as Django put it — his persecutors to let down their guard, and embrace him as one of their own. The film presents Rama as an unquestionably badass—his prequel is massive and terrifying—but as more plot unravels, audiences begin to understand the moral predicament he faces.
Use imagination to highlight true heroes
Rajamouli weaves in some fascinating insights into what the cultural lightning rods these men were in real life – when Rama had to reluctantly whip Bheem in the face of increasingly restless Delhiites, the freedom fighter not only refused to kneel in defeat , but also sang a hymn motivating the masses to revolt. At the same time, the director treats men like the twin Rambus (especially Rama) who are able to withstand unimaginable torture – that is, when they do not simultaneously beat dozens of opponents. Fahim is overtaken by a wolf and a tiger in his first scene, while Rama fights through a crowd of thousands to capture one of the mobsters within him. At the end of the $$$$, springing off each other’s shoulders, wielding motorbikes like a policeman’s baton, and double-fisted automatic rifles as they defeat wave after wave of British soldiers. (Speaking of this topic, $$$$ He has one of the most pro-gun stances in any movie since the mid-’80s, so mileage in this particular movie may vary.)
Rama Rao Jr. is as wonderfully charming as the virtuous and slightly naive Bheem. He is fierce and loyal as a protector of Gond who makes his way through a city under foreign and hostile control. Meanwhile, Charan is as charming as Rama, not only immersed in coiled sexuality (in police uniform, bearing more than vague resemblance to one of the characters drawn by Tom Finn), but masterfully navigating the ideological compromises he has made—and continues to investigate—of in order to achieve one goal. Action scenes practically jump off the screen, and even in their most ridiculous scenes (I mentioned someone rocking a motorbike, right?), Rajamouli maintains such a consistent control over the film’s tone that nothing sounds quite as great, at least not. In this growing world.
Of course, American films often abandon the claim to believability, and audiences often refuse. It’s hard to pinpoint exactly why this movie was so successful when many, for example, Unknown or Jurassic World: Dominion It looks silly. But there is something $$$$, even in its darkest moments, this is so fun and charming, and bent on keeping you engaged that you just can’t resist. And you won’t like it. What works and fascinates is not a sense of strangeness or alienation or even exaggeration or exaggeration. What is not there to enjoy ironically or as an experience for contemplation or laughter. Instead, its specificity paves the way for a universal story and a global feel. to reach $$$$—and taking advantage of its wavelength — is less of a challenge than a gift to an audience, and a reminder of the power of films to convey, transform, entertain and inspire in any language.