Modern Masters SS Rajamouli: Self adulatory in nature, still an engaging watch

The insights of V Vijayendra Prasad, MM Keeravani, Rama Rajamouli etc. give the documentary some of its best moments

Modern Masters directed by Raghav Khanna and Tanvi Ajinkya is an absolute treat for the fans of the celebrated director. Right from the beginning it is clear that both of them are in awe of SS Rajamouli and how the documentary has been designed as a tribute. Just like his on-screen heroes the tonality is that of reverence and awe. This method does come with its drawbacks as there isn’t much of a critical analysis however there is never a dull moment

A strong aspect of Modern Masters is the narration of the family members. Through the various anecdotes the viewers understand the passionate nature of Rajamouli and his eccentricities while filming a movie. The documentary also successfully sheds light on Rajamouli’s modest beginnings. Seeing the struggles of his father and how that influenced the creative choices.

Although Rajamouli’s debut movie Student No 1 was a commercial success it is very clear that Rajamouli looks at Simhadri as his breakthrough movie. It was Simhadri that set the tone for Rajamouli’s future films. There is also an intriguing insight given by MM Keeravani about the use of a Tamil rustic song to showcase the transformation of Junior NTR. The producers weren’t very sure about its placement, but he was very clear about audiences enjoying it which turned out to be true. The courtship of SS Rajamouli and how he convinced Rama for marriage is charming. Just like his movies here too his persistent nature comes forth strikingly.

The anecdotes regarding the Baahubali films are also engaging. Initially the movie had a slow start with the talk being not so positive. One of the producers Shobu Yarlagadda went into a panic mode and there was major anxiety about Baahubali 2’s future however things changed with the movie growing on the audiences and eventually becoming a blockbuster. Karan Johar is the only one from the Hindi fraternity to appear in the documentary. The movie could have done with few more Hindi and Telugu personalities, keeping that aside Karan Johar makes an interesting analogy by comparing Ramesh Sippy’s Sholay with this. Upon its release Sholay also had a slow start with many people dismissing it but subsequently the film made a major splash and has now become a commercial benchmark.

Prominent film Journalist and reviewer Anupama Chopra is also a part of this documentary. She asks questions regarding the criticism of Bahubali and RRR being sexist and casteist. The answers aren’t completely satisfactory nevertheless there is an interesting bit where he talks about being an atheist while still being a believer of Sanatana dharma. According to him a person can be both. Talking about the controversial love scene in Bahubali 1 he says that Tamannaah’s Avanthika is much more than just a hard warrior, adding that there is also a woman looking for love beneath the tough exterior.

Rajamouli’s creation of strong villains particularly Rana Daggubati’s Bhallaladeva and how he likes Ravana more than Rama adds an interesting dimension to the documentary. To sum it up Modern Masters could have done with more depth particularly the questions about Bahubali and RRR, still it is entertaining enough.

RRR: An Important R Is Missing, That Is The Story

The influence of Amar Chitra Katha stories has always been apparent in Rajamouli’s films. In the two Bahubali films the director had combined Amar Chitra Katha elements with an engaging story. There were several aspects that the audiences connected with in spite of a stale storyline. With RRR the director once again takes a larger-than-life canvas but misses the Connect.

With RRR the director tries to make an epic mythological film with superhero bromance. But here the ingredients feel undercooked.  The focus is more on its lead actors and the visuals than a solid storyline. As a result RRR lost the magic that Bahubali had. It is not unwatchable but at the same time it doesn’t have the repeat value.

RRR is set in British India of 1920’s. The film begins off with a tribal girl being taken away by a British officer’s wife. Bheem (Junior NTR) belongs to the same tribe and takes the responsibility of bringing the girl back. Standing in his path is Ramaraju (Ram Charan). Ramaraju is part of the British set up but he has his own goal to achieve against the Britishers. The rest of the story is about Ram’s personal goal, will Bheem and Ram patch up for a common cause etc.

Actors like Ajay Devgan, Alia Bhatt, Rahul Ramakrishna and Shriya Saran appear in bits and pieces.

From the beginning it is clear that Rajamouli has heavily relied on Junior NTR and Ramcharan to make things work. A lot has been said about their off-screen camaraderie, which is very apparent on screen. Their bromance and the different stages of their relationship have come across well.

The scenes where Ramcharan’s character tries to help Bheem in his courtship with Jenny (Olivia Morris) are quite cute.

The interval bang where the two heroes go at each other is emotionally moving. The scene is too prolonged but it still works. The grey shades of Ramcharan’s character and how it is connected to his past is smartly integrated by the director.

Performances wise it is out and out a Ramcharan and Junior NTR show. Both the actors embrace their parts wholeheartedly. The other actors do what is required but none of them stands out. This is sad because you have the likes of Ajay Devgan and Alia Bhatt. Alia as Sita gets only one solid scene which of course she does her best.

The romantic angle between Ramcharan and Alia is pretty much non-existent. Infact, Alia’s soloscene with Junior NTR has far bigger impact.

Visually RRR is stunning just like the Bahubali films. Cinematography by Senthil Kumar is appropriate to the atmospherics of the film. The production design by Sabu Cyril also makes the film a visual treat.

The biggest issue with RRR is the lack of focus on building an engaging storyline. Suspension of disbelief is fine but even that requires a certain finesse.

You know that both the heroes will emerge victorious in the end irrespective of what weapons the Britishers use. As a result you don’t feel the high which you ideally should.

The British characters are not just evil but they are also annoyingly foolish. You don’t at all understand why a British woman would kidnap a small tribal girl. The most annoying British character is of the General’s wife.

There is also too much violence and bloodshed happening in every second reel. The action scenes are way too long, and on top of it the BGM is deafeningly loud.

In a nutshell RRR may make money but it is high time the director reflects on the stories that he is directing.