Rao and Charan’s bro-mantic chemistry and syncopated physicality have already made a viral success of the movie’s splashy “Naatu Naatu” musical number, but that scene’s infectiously joyful presentation is supra-human by design.
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Rajamouli knows exactly how to capture his best sides, as in an astounding opening action scene where Raju descends into a rioting mob just to subdue and apprehend one particular dissident. Likewise, Charan’s steely-eyed performance in “RRR” is limited, but strong enough to be credibly superhuman. Rama Rao’s performance isn’t the main thing, but it is the emblematic inspiration that, along with a “Passion of the Christ”-worthy scourging, understandably leads an assembly of Indian nationals to attack Scott and his bloodthirsty hambone wife in a later scene. Rama Rao is ideally cast as the naively sweet-natured Bheem, whose messianic qualities are also effectively high-lit in a handful of rousing set pieces, like when a bare-chested Bheem wrestles a tiger into submission.
Rajamouli has also already perfected the way he works with and uses his actors as part of his shock-and-awe style of melodrama. Rajamouli has gotten quite good at incorporating potentially alienating elements, like his cheap-seats love of grisly violence and brash sloganeering, into his propulsive, inventive, and visually assured fight scenes and dance numbers. It’s also fitting that “RRR” is Rajamouli’s big breakthrough since it's inevitably about Bheem as an inspiring symbol of quasi-traditional, boundary-trampling patriotism. (“Ben Hur” is an acknowledged influence for Rajamouli, as are the action/period dramas of fellow DeMille-ian Mel Gibson).
Raju and Bheem immediately bond after they save an unrelated child from being crushed by a runaway train, as clear a sign as any of Rajamouli’s love for Cecil B. Raju, a peerless Colonial police officer, befriends Bheem without realizing that they’re at cross purposes: Bheem wants to break into Scott’s fortress-like quarters to rescue Maali while Raju wants to catch the unknown “tribal” that Scott’s lackey Edward ( Edward Sonnenblick) fears might be lurking about. Bheem, the avenging “shepherd” of the Adivasian Gond tribe, visits Delhi to track down Malli ( Twinkle Sharma), an innocent pre-teen who’s kidnapped from her Gondian mother by the cartoonishly evil British Governor Scott ( Ray Stevenson) and his sadistic wife Cathy ( Alison Doody). Set in and around Delhi in 1920, “RRR” pointedly lacks historical context so that Rajamouli and his team can transform a straight-forward rescue mission into a rallying cry for reunification and also cathartic violence. By the time he made “RRR,” Rajamouli had already developed his brand of Nationalistic self-mythologizing with some help from recurring collaborators like regular story writer (and biological father) Vijayendra Prasad and both co-leads, who previously starred in Rajamouli’s “Yamadonga” and “Magadheera,” respectively.
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