At some point in the past few decades, Hollywood has seemingly lost the ability to make purely entertaining epics, and where every film of enormous scope feels like a major event that comes around very rarely, audiences often going years without witnessing a true spectacle that isn’t somehow tied to the recent influx of superhero films, which tend to dominate when it comes to large-scale filmmaking. There are certainly exceptions, but for the most part, the art of epic filmmaking has seemingly become a bespoke craft. However, this is only true if you are looking at it from a purely western perspective, since films are being produced outside of the Anglophone world that feels like they were designed to hearken back to the heyday of epic-scale storytelling, combined with unique cultural details that make them wholly original. We can look towards Indian cinema for some of the most interesting examples, since their industry is one that is bursting with the vibrant audacity that drove some of the greatest filmmakers of the past – and the only reason we don’t discuss these films as often in a western setting is because there has been an unfortunate lack of attention given to many of these films, due to the inaccessibility of these films in the global market – they’re certainly available, but are rarely given much attention. This came to a grinding halt earlier this year with the release of RRR, which immediately became a cultural sensation upon its discovery, giving many viewers their first taste of pure Indian filmmaking, where it isn’t filtered through a western perspective or made with the critical involvement of outsiders that are more recognizable to those of us outside of the cultural sphere being depicted here. Written and directed by S. S. Rajamouli, who has already established himself as one of the more vital names in contemporary Indian cinema, RRR is the kind of film that doesn’t come along very often, but when it does, it’s nearly impossible to ignore, which is precisely why it has been proclaimed one of the year’s biggest successes, and a truly exceptional film.

Regardless of how one feels about the specific elements from which it is built, it’s impossible to look at a film like RRR and not see it as a work of pure ambition. As far as Indian cinema goes, there is nothing particularly revolutionary about this film – it is certainly exceptionally well-made and about as daring as a film like this can be, but it is just another tremendous offering from a nation that perpetually pushes the boundaries of what they can do on screen. However, this is just another immensely entertaining film that derives its success from the sincere passion shown by the director and his collaborators. A film like RRR can only be effective if those involved in its creation believe in its importance – and Rajamouli makes sure that we know from the very first frame that this was not just an attempt to see how far he could go with a relatively simple concept, but rather a thrilling and fully-encapsulating depiction of Indian culture, made for both those in his native country, and for outsiders, many of which will be encountering this style of filmmaking for the first time, or at least in its most complete form (since there was a time when western cinema did appropriate many of the major elements of Indian cinema, just without the elegance and authenticity you would normally find in a genuine film such as this) – and as a result, Rajamouli did have quite a challenge ahead of him. However, his intentions remained the same, which is primarily the reason behind the brilliance of RRR, since this is a film that doesn’t soften its perspective or change its viewpoint to facilitate those outside the culture depicted – considering how those from other cultures have had to adapt to over a century of mainstream American cinema, it was high time for the inverse, and it’s difficult to imagine it coming in a more appropriate vessel than RRR, a film that is very much about celebrating culture as much as it is offering wall-to-wall entertainment, succeeding on both accounts.

Rajamouli is a director with a clear vision and a vivid sense of what works on screen, and what should be developed further. Despite its length of over three hours, it’s difficult to point to a single moment in RRR that feels unnecessary or potentially there just to fill up space. Every frame is essential, and contributes something important, whether narratively or artistically. The collision of style and concept is the key component that keeps this film afloat – it has a tremendous story, and the skilfulness to bring it to life in a way that feels authentic and interesting. Every moment in this film feels like a calculated risk, and while Rajamouli is a professional and has made several extraordinarily successful films (three out of the five highest-grossing Indian films of all time were helmed by him, which immediately points to his importance in the contemporary cinematic landscape, not only in his native country, but globally if we consider how the Indian film industry is one of the biggest in the world), there was still a lot of work that needed to be done in order to ensure that what was shown on screen reflected his own artistic ambitions, as well as living up to the enormous task that comes with telling this story. Suspension of disbelief is absolutely vital to enjoying this film – there’s a level of complexity simmering throughout this story that requires us to put our faith in the director. Rajamouli makes it clear that we are in good hands, and while there is an abundance of moments that defy laws of logic and physics (such as a mid-film sequence that involves a violent battle not only between revolutionaries and colonialists, but an array of vicious animals trained to incite chaos – if the image of a leopard being thrown at a redcoat isn’t one of the most entertaining of the past few years, then we should be cynical about the state of the industry), it all makes sense, granted we are capable of falling under the gleeful stupor required to fully appreciate the absolute madness that pulsates throughout this film – and his ability to create a film that never once pulls us out of this daze is further proof that Rajamouli is one of the most gifted filmmakers working in the industry at the moment.

As much as RRR is a magnificent piece of visual filmmaking, part of what made it so successful is the story, which has strong historical significance. I’m not one to normally advocate for the viewer having to do their own reading in order to understand a film (unless it is absolutely necessary, any film that requires independent research prior to seeing it indicates weak storytelling – this isn’t universally applicable, but it is certainly relevant for many films that expect audiences to enter into the film with existing knowledge), but considering how RRR has become such a sensation, it is helpful to have some idea of who these characters are, or what propelled Rajamouli to use them as the foundation for this film. The protagonists of this film are Komaram Bheem and Alluri Sitarama Raju, who were colonial revolutionaries that fought against British imperialism, often leading violent rebellions that amounted to a staggering amount of bloodshed, all in favour of fighting for independence. Interestingly, RRR is not a biographical film, despite clearly having the deepest reverence for these characters. Instead, it is a piece of revisionist history, borne from the director’s curiosity about a scenario in which these two individuals (who had never interacted, as far as historical records seem to indicate) not only crossed paths, but became allies, fighting side-by-side against the vicious colonial powers. Only the most talented storytellers can constructive alternative versions of history that are not only convincing but thoroughly engaging, since it requires a meticulous attention to detail and the willingness to take risks – but considering the sheer scope of the film, RRR earns every bit of our time when it comes to offering us a different perspective, especially since it feels so authentic and meaningful, never merely being the work of a director who simply just wanted to reconstruct history, but rather one who uses these iconic figures as the foundation for an effortlessly captivating and deeply thought-provoking investigation of a particular moment in the colonial history of India, a subject that has often been the foundation for some of their most important and artistically-resonant films.

Explaining exactly what makes RRR so captivating is much more difficult than it would appear – logically, audiences will always respond to something that was designed to entertain, and the director offers an abundance of colourful, action-packed sequences that keep us engaged and interested. This is the rare kind of action film that has many functions – it appeals to those who are devotees of the genre, offering the same kind of off-the-wall madness we’ve come to expect from only the most ambitious films, as well as being an example of a film that uses its action in a way that could possibly convert those who are more cynical of the importance of the genre. There are few individuals more stubborn than those who view action films as lacking in terms of artistic resonance – and while it is true that many mainstream films are produced solely for commercial gain and have very little interest in narrative nuance, RRR is proof that a film can be both wildly entertaining and extraordinarily thought-provoking, a rare combination that works extremely well throughout this magnificent voyage into the past. It certainly is not surprising that RRR has been such a success, resonating with viewers from all backgrounds, and being a film that has united the global population in appreciation for the thrilling, provocative and wildly entertaining three hours of unhinged chaos designed to inform and entertain, becoming one of the year’s most extraordinary surprises, and a film that is bound to make an indelible impact on the industry. It shows us something different, introducing us to a range of ideas that may seem obvious in hindsight, but had yet to be done on such a broad scale, which gives us a glimpse into what is possible – and while it does make use of a decent amount of computer-generated imagery, there’s a heartfulness to the way this film is made that can only come from someone with the most authentic and detailed level of artistic integrity imaginable.

Films like RRR inspire boundless faith in the future of the film industry – it may not be entirely original, and it certainly takes several risks that could be perceived as ludicrous by those cynical to its approach, but it doesn’t matter when this film is a work of pure, unadulterated entertainment. This is a three-hour-long odyssey into India’s past, filled to the brim with unforgettable images, memorable sounds and a tone that oscillates between gleefully buoyant and deeply respectful to the past. RRR is an astonishing work, the kind of detailed historical epic that we don’t see often, at least not from western studios, which are far too concerned with speculating about the future or alternative versions of reality, they don’t realize that the past has enough stories to make for the most thrilling, captivating and entertaining films imaginable. It will be interesting to see how RRR influences the way films are made going forward, since it feels like a watershed moment for global cinema. Rajamouli is certainly not going anywhere, with his status as one of the most commercially successful Indian filmmakers being coupled with worldwide acclaim that has immediately propelled him to the status as one of the most exciting filmmakers working today – and the artistic talent he demonstrates in every frame of this film (which contains several of the most stunning images captured in the past several years), coupled with his daring and provocative approach to historical subjects, places him in a good position to grow in esteem, granted his talents are used on worthwhile projects. Ultimately, RRR could either be the start of a new global movement in cinema, or it could be a flash-in-the-pan success – regardless of the impact it has, it’s impossible to deny the pure brilliance of this film, which serves to be a potent reminder of the immeasurable power that film can have when it comes to providing pure escapism, which is one of the most valuable qualities a film like this can offer, and the primary reason it is not going to fade into obscurity any time soon.