I first watched S.S. Rajamouli’s RRR the same way I enjoy most big-budget Indian action: alone in a near-empty AMC Elmwood theater, with no prior context and no friends to discuss it with on my exit through the lobby. I reviewed the film with the same approach I usually take with muscles-and-explosives action flicks from Tollywood & Kollywood (films like War, Master, Karnan, Saaho, 2.0, etc.), judging it against the relatively timid payoffs of comparable Hollywood series like Fast & Furious and the MCU. The difference is that RRR has taken off in a way none of those other films have. It’s been constantly praised in the months since that first viewing (sometimes hyperbolically, often charmingly) in every corner of online film discourse I can name. By the time I revisited RRR for a recent episode of the podcast, I was armed with way more cultural & industrial context about what makes it so explosively entertaining, as well as what makes it politically shaky. I still don’t fully understand why it’s the only Indian action epic that’s enjoyed such a long, prominent shelf life in Western film discourse, but I do love that one has broken through. It would be great if others follow, at the very least so I can better understand the roided-out action media I’m used to watching alone in the dark.
The only thing that’s really helped clarify why RRR is such an international hit was seeing a more recent, mediocre entry in its genre without as much novelty or fist-pumping energy. Shamshera is another ahistorical Indian action epic about violent rebellions against British colonizers. That rebellion is also led by the strongest, most badass hero the world has ever seen – a man so over-praised and over-muscled he can only be compared to superheroes or gods, often in his own titular theme song. It’s a formula you’ll see repeated dozens of times if you watch enough Indian action, and it’s one that’s always entertaining, no matter the overall quality of the film. Watching Shamshera wield a comically huge battle axe and command an army of CGI crows against his people’s British oppressors is a familiar thrill that never loses its potency no matter how many times it scorches your eyeballs. And yet, when compared to more deliriously over-the-top actioners like RRR & Enthiran, it’s a little lackluster. Shamshera plays like a Bollywood studio attempting to outgun the more eccentric action coming out of South India without ever quite matching their volatile energy. It still was an entertaining trip to the movies and still highly preferable to its American contemporaries, but it’s also such a straight-forward, barebones entry in its genre that it makes RRR stand out even more in contrast.
Speaking of RRR‘s American equivalents, I continued to think a lot about the qualities I crave in Indian action flicks on my very next trip to the theater after Shamshera. Not only is Baz Luhrmann’s Elvis biopic just as long & loud as Shamshera (a whopping 159 minutes), it’s also yet another sprawling epic that elevates a real-life historical rebel to the status of a god-like superhero. In this case, the proto-rockstar’s superpower is making white teenagers horny, something Luhrmann conveys through on-screen comic book panels (which are also used to illustrate Shamshera‘s prologue) and the wild shrieks of teens witnessing his pElvic thrusts for the very first time. It’s possible I was only thinking about Indian blockbusters while watching Elvis because I had revisited RRR & Shamshera within 24 hours of that screening (accounting for 6 of those very hours, combined), but it’s just as probable that they’re all pulling inspiration from the same source. The grandeur & spectacle of Baz Luhrmann’s cinema feels like a direct descendant of traditional Bollywood musicals, which both he and modern Indian action directors like Rajamouli are now warping into new, weird pop art. I often struggle with that same attention to spectacle in American films, especially in CGI-heavy action franchises like Star Wars & The MCU. Luhrmann’s Elvis transcends that mental barrier in a lot of ways though. It’s maniacally tacky, and it has the most individual camera set-ups I’ve ever seen outside of a Russ Meyer production, playing more like a three-hour trailer than an actual movie. I wasn’t even sure if I liked it until I heard someone complain “That is one of the worst movies I’ve ever seen” on the way out, and I found myself getting defensive. It’s also, in its own deranged way, kind of brilliant. Elvis delivers the exact propulsive, baffling, brain-smashing entertainment I actively seek out in South Indian action movies but find questionable in Hollywood productions, to my shame. In a roundabout way, revisiting RRR made me eager to revisit Baz Luhrmann’s back catalog of Moulin Rouge!-style spectacles to see if I’ve just been snobbish in my rejection of their shameless, spectacular cheesiness, which I suspect is the case.
All of this is just to say that I’ve been enjoying discussing & thinking about RRR for the past few months. Usually, I can only sustain a discussion of a similar Indian action film for a few minutes, as I try to explain how that industry is matching the delirious heights of American & Hong Kong action in their own 80s & 90s heydays to someone who could not care less about the inane words flooding out of my mouth. Nobody was around, for instance, just one month earlier than RRR to discuss Radhe Shyam, a volatile romcom about a lovelorn palm reader who essentially gets into a fistfight with the Titanic. Not all these over-the-top action films deserve the same level of attention & adoration as RRR, which really is an exceptional specimen of its genre, but it’s been cool to see one of these wildly entertaining action flicks break through with American audiences instead of just disappearing after a single-week theatrical run. The continued discussion not only made me appreciate RRR even more on revisit, but it’s also helped me clarify my thoughts on other films with similar, soaring payoffs.