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Can RRR still make it to the Oscars?


The entire nation has been eager for RRR to make it to the Oscars after several international publications and Hollywood filmmakers felt that the film would be the right pick from Indian films for the prestigious awards. In a surprise, Gujarati film Chhello Show is the official entry for Oscars 2022 from the Indian films. Tollywood along with the audience who loved RRR are completely disappointed. Critics and analysts say that RRR still has a fair chance to make it to the Academy Awards 2022. As per the published news from Variety, a distributor based in USA is in plans to launch a campaign for RRR. The distributor is calling the Academy members to vote for the film in all the categories. RRR is not available on the Academy Streaming Room. Going with the international reception the film received, the distributor is keen on a campaign.

RRR fans are furious and they took Twitter to express their dissatisfaction against the move of the Film Federation of India. The team of RRR is yet to respond about the same for now. There are also reports that RRR can still enter the Oscar race in the General category. RRR is a periodic epic set before the independence that narrates the story of two biggest freedom fighters: Alluri Seetharama Raju and Komaram Bheem played by Ram Charan and NTR respectively. The film also featured Ajay Devgn, Shriya Saran, Alia Bhatt and Samuthirakani in other important roles.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

NTR and Charan to promote RRR in Japan


RRR is the biggest hit of the country this year. The film also broke international barriers and impressed film lovers across the globe. RRR kept trending on Netflix for weeks. RRR will have a theatrical release in Japan in the mid of October and the arrangements are being done. Rajamouli is leaving no stone unturned for the Japan release. As per the update, the lead actors NTR and Ram Charan will promote the film in Japan. They will be present for the film festivals and the theatrical screening of RRR.

Rajamouli asked Ram Charan and NTR to keep their October dairy vacant for the Japan tour. Rajamouli is already touring across various countries and is attending the film festivals to promote RRR. This will give a huge boost to his future films. NTR and Ram Charan will have a good platform so that they can release their future films if they have an international appeal. Rajamouli’s past films Magadheera and Baahubali franchise released in Japan. The official release date will be out soon.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

“Is it time for the Academy to embrace Indian cinematic excellence?”

Movies erase all human set boundaries. When you sit in the dark theater watching magic on screen, it doesn’t matter what religion, class, race, gender people next to you are. It even transcends language like Charlie Chaplin did during silent film era. But the academy has historically boxed itself in.

In its 93 year history, Parasite(2019) is the first and only Asian film to win an Oscar for best picture. Even though Asian cinema has been producing cinematic masterpieces, they were largely ignored by the Academy.

In fact, Hollywood itself had a problematic past with non white actors and technicians. It took decades for the Academy to apologize for the treatment of Sacheen Littlefeather on Oscar stage. Legends like Sydney Poitier had to fight to get African American actors to get noticed. Before Bruce Lee, Asian actors in Hollywood were caricatures to provide comedic relief. Lee is a force of nature and didn’t let racism define his limits. He made Asian cinema that even Hollywood watched.

But Indian cinema has largely been ignored by Hollywood. Enter RRR by SS Rajamouli. RRR has blown away the whole world. It made top 10 most watched movies list on Netflix in over 60 countries. It has earned over $150 million. It has earned praise from Academy award winners, film critics and influential media members.

Matthew Cherry is an academy award winning director and he has been one of the most influential voices in supporting RRR. He first expressed support for RRR and NTR Jr for Oscars on July 18, 2022. Then on July 29, Variety magazine included RRR, director SS Rajamouli and NTR Jr in their prediction list to win best picture, best director and best actor Oscar respectively.

The LA film festival, Beyondfest also added that both RRR and NTR Jr deserve to be nominated for Oscars. NTR Jr is one of the finest actors, not just in India but the world. Who else can convincingly portray the aggression, innocence, emotional depth of Bheem as well as he did and be talented enough to pull off Naatu Naatu on top of it?

Adding to the growing list of influential advocates for RRR is veteran journalist Rochelle Riley. Ms.Riley is in multiple hall of fames for journalism. She’s an influential voice in advocating for Academy rewarding non white actors and technicians whose work deserves the recognition. On August 20, she said RRR is a lock to win best foreign film Oscar. She also said it has chances for best picture nomination in general category. She especially mentioned that NTR Jr who played Bheem superlatively should have been in the best actor prediction list of Indiewire. No film or actor of Indian origin ever got this kind of recognition.

The worldwide response from audience and critics shows RRR deserves Academy’s attention. RRR broke through all glass ceilings set for Indian cinema in the west. It’s time for Academy to completely erase boundaries it set for itself and reward Asian cinema.

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‘Shaun of the Dead’ director Edgar Wright heaps praise on ‘RRR’


Ever since it started streaming on Netflix, S.S. Rajamouli’s blockbuster ‘RRR’ has been acquiring a growing international fan following.

The latest fan is Edgar Wright, the director known for his zombie-comedy film ‘Shaun of the Dead’, who recently saw the movie on the big screen and was left mightily impressed with its scale, grandeur and storytelling.

He took to Twitter and wrote: “Finally saw @RRRMovie on the big screen at the @BFI with a great crowd. What an absolute blast. So entertaining. The only film I have ever seen where the intermission card itself got a round of applause.” BFI is the British Film Institute.

Earlier, ‘The Vampire Diaries’ actor Joseph Morgan has showered praise on ‘RRR’. He called it an “absolute masterpiece”. Other notable names to have praised ‘RRR’ are director-writer Aaron Stewart Ahn, Jon Spaihts (the writer of ‘Doctor Strange’ and ‘Dune’) and screenwriter C. Robert Cargill.

Rajamouli’s ‘RRR’, which stars Telugu superstars Ram Charan and Jr NTR as the leads, narrates a fictional story centred around two freedom fighters, Alluri Sitarama Raju (essayed by Ram Charan), and Komaram Bheem (played by Jr NTR).

The film, which debuted in theatres in March this year after being postponed because of the third wave of the Covid-19 pandemic, has so far collected Rs 1,111 crores worldwide.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

NTR is the possible contender for Oscars

RRR is the biggest film of the country this year and both the lead actors Ram Charan, NTR performed well and lived up to the expectations. RRR also received critical reception from the international corners. Top international magazine Variety released the possible Oscar prediction list and NTR has been named in the Category of the ‘Best Actor’. NTR joined the list of the Unranked Possible Contenders for Oscars. Tarak’s roaring performance as Komaram Bheem in the film received top-class response.

NTR fans took social media to express their happiness. The tags #JrNTR and #ManOfMassesNTR kept trending across Twitter and other social media platforms. RRR kept trending for weeks after the film was available on the top digital platform Netflix. The film took the Indian box-office by storm and is one of the biggest hits of the year. The country’s top director SS Rajamouli directed RRR.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

Beyond ‘RRR’, the ‘Forest Warrior’ who propelled the 1922-24 Rampa Rebellion


Thanks to ace movie director SS Rajamouli and his blockbuster ‘RRR’, the name Alluri Sita Rama Raju, who was the inspiration for the fictional character played by Telugu star Ram Charan, may no longer be an unfamiliar name for a large swathe of Indians across regions and languages.

But for generations of Telugu-speaking people, the name has invoked visions of a brave young man who dared the might of the British Raj and died a martyr. Statues of Alluri Sita Rama Raju at important locations, are a common feature in many Andhra cities and towns.

What sets apart this young freedom fighter in a remote part of present-day Andhra Pradesh is that he rallied tribals for his guerrilla warfare against the British rulers in the Agency areas of Madras Presidency. Much like Chatrapati Shivaji mobilised the Mavalas to strike with impunity at the mighty Mughals.

Known as ‘Manyam Veerudu’ or ‘Forest Warrior’, Alluri Sita Rama Raju was the face and propelling force behind the Rampa Rebellion between 1922-24. Armed with primitive weapons like spears, bows and arrows, Alluri Sita Rama Raju and his band of tribals harried the British authorities in the Visakhapatnam-Godavari Agency area in the erstwhile Madras Presidency.

Giving up the comforts of life in the plains where he was born and brought up, Alluri Sita Rama Raju took up the life of the tribals that he led in the fight against the British rulers. A well-built man, with striking looks and mesmerising personality, he wore the saffron cloth of an ascetic but was armed with a bow and quiver of arrows.

Born on July 4, 1897, Alluri Sita Rama Raju was barely eight years by the time he lost his father. Thereafter, he was brought up by his maternal uncle. Although not very academically inclined, the young lad was attracted to spirituality. He was also very active in sporting activities and was reputed to be an ace horseman. When he was eighteen years old, Sita Rama Raju was attracted towards asceticism and decided to become a sanyasi. To satisfy his spiritual thirst, he undertook a tour of India and visited several places including present-day Bangladesh.

However, his travels across India opened his eyes to the exploitation of Indians by the British rulers. Touched by the deprivations suffered by his countrymen, particularly tribals, Sita Rama Raju decided to do something for them.

Returning home, he began working in the agency areas of Visakhapatnam and Godavari districts of the Madras Presidency. His selfless service and noble demeanour endeared him to the tribals who loved and respected him as their own.

The Madras Forest Act introduced by the British Raj in 1882 was resented by the tribals. Apart from barring the tribals from entering forests for grazing cattle, collecting firewood, and forest produce, the law forbade them from practising podu cultivation or shifting agriculture.

Moved by the plight of the tribals, Alluri Sita Rama Raju decided that fighting back was the best way to counter British exploitation, and launched the Rampa Rebellion. Organising the tribals into a guerrilla force, he began targeting British forces. Armed with just bows and arrows, and spears, Alluri Sita Rama Raju and his band of tribal warriors launched several lightning strikes against police stations and looted the modern weapons like pistols, revolvers and rifles. He was so audacious that after attacking a police station, he would sign a letter detailing the weapons looted in the operation.

Despite their best efforts, the British failed to capture Alluri Sita Rama Raju as he went about harrying them for close to two years. While the locals refused to betray him, Sita Rama Raju himself did not succumb to the inducements offered by the British.

Faced with an embarassing situation, the British pressed in all the resources and finally managed to capture the young freedom fighter. Such was the fear that he had created in the British that without losing moment, they had Alluri Sita Rama Raju executed on the spot.

Thus, on May 7, 1924, ended the extremely brief but fulfilling life of this young torchbearer of Indian independence. He was just 27 at the time.

India is poised to celebrate its 75th anniversary in 2022. The year also marks the 125th birth anniversary of Alluri Sita Rama Raju, a freedom fighter who died for the country almost two decades before India was freed from the British yoke.

It is only now that India is waking up to the sacrifices of this fiery votary of India’s freedom. This year on July 4 while commemorating this great hero’s 125th birth anniversary, Prime Minister Narendra Modi unveiled a massive 30 foot-tall bronze statue of Alluri Sita Rama Raju at Bhimavaram, Andhra Pradesh.

While Mahatma Gandhi’s principle of non-violence may have finally unshackled India from the British yoke, heroes like Alluri Sita Rama Raju are proof that Indians are capable fighters too.

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Shoots On Pause: South to rework economics

‘RRR’, ‘KGF’, ‘Pushpa: The Rise’, ‘Baahubali’ and other such big hits, and one would think that the South Indian film industry is rolling in money! Evidently, it is not so. And that is what bothers the filmmakers in the South.

Their malady is that just about everybody connected with the making of a film, from the stars to the technicians, makes money when a film is being made except for the producer. To contemplate on this issue, the Active Telugu Film Producers Guild (ATFPG) met last week.

Films such as ‘Baahubali’, ‘Pushpa’, ‘RRR’ are a flash in the pan and the media celebrates only those. But the Guild contends that against these few blockbusters, which appear periodically, there are many other films that drag a film producer deep into the red.

That a film producer always makes money is a perception people live with because of the stars. The stars are the face of the film industry. Their riches and the glamour quotient are for the people to see, not the plight of those behind the scenes. In the popular perception, if stars make so much money, certainly, the ones who employ them must be earning so much more!

How one hopes this was true, that producers were the ones employing stars! The fact is that once a star is signed, a producer starts working for the star. In the Hindi industry, all but a successful few borrowed at the rate of 3 per cent per month, or 36 per cent per annum! The interest was chargeable every quarter and deducted while landing.

It was a desperate situation for a film producer. Because, not only his film, even his household ran on this borrowed money. He was a full-time filmmaker and had no other source of income. All this because though this was called an Industry, it was never recognised as one and therefore not privy to institutional finance. Which, if nothing, would be available at a reasonable rate of interest.

Usually, a film producer lived on liabilities, always owing money to his financiers, which got transferred from one film to the next, unless his film turned out to be a big hit. Only that day did he stand a chance to pay up his debts and emerge clean. That, too, depended a lot on his distributors and if they paid his overflow (share of the profit after recovering his investment). The distributors were, almost always, only partly honest.

There were some filmmakers whose finances were structured in such a way that even the world rights of their movies vested with the financer. He controlled all the transactions, including the profit earned by the film, till he recovered his investment, or over a stipulated period. In such an event, even if the film was a hit, the profits went to this world rights holder.

The best case of such an understanding was film producer Yash Johar, the founder of Karan Johar’s Dharma Productions. Yash Johar enjoyed tremendous goodwill in the industry, making many well-received films such as ‘Duniya’, ‘Duplicate’, ‘Agneepath’ and ‘Gumrah’ with the biggest of stars. Yet, Johar never tasted success.

Finally, when success came to him with ‘Dostana’ (starring Amitabh Bachchan and Shatrughan Sinha), his profit was mortgaged to the film’s world rights controller for the next 10 years!

Yash Johar, such as he was, would laugh at his situation. One hit I make and the profit goes to someone else. That is the way the film business worked. The producer was the one who put together a project, slogged for a year or two but got little or nothing back at the end. The producer knew his situation well, but had no way of coming out of the quagmire.

Recently, the Multiplex Association of India (MAI) decided that a Hindi film will be released on OTT platforms only after eight

weeks of its theatrical release! Whose film is it, who is the producer? And, why does MAI decide on such matters for a producer? Well, that is the way it has been for a long time. From the number of screens to be assigned to a film to the admission rates, it is all decided by the multiplex operators.

Filmmakers, in Mumbai or in the South, are all facing similar problems that make filmmaking a risky business for them. The major problems faced by them are also the same: high admission rates at the cinemas; impractical out-of-proportion star earnings and the OTT effect on the box-office prospects of films.

South Indian filmmakers, especially the Telugu film industry, have decided to tackle these three problems to start with. The Hindi filmmakers, despite (or due to) four associations representing the production sector, have shown neither the courage, nor the inclination to take the lead. They are kind of used to the terms being dictated by others, whether the cinemas or the stars.

Now, the producers in South India, especially in the Telugu film industry, have decided to do something about it. The Telugu Film Chamber of Commerce has broadly classified films into small, medium and big budget for the purpose of implementation of its resolutions.

Accordingly, films will have to keep a four-week window between their theatrical and OTT releases, but the big- budget ones will have to adhere to an eight-week window before their OTT release.

The admission rates for small-budget films in the A and B centres should start from a maximum of Rs 100 for single screens and Rs 125 for multiplexes. For medium-budget films, the rates should start from Rs 122 for single screens and Rs 177 for multiplexes. The respective rates for big budget films should be Rs 177 and Rs 295.

These admission rates apply to Telangana because in Andhra Pradsh, which is also a Telugu film market, the rate ceilings have already been applied by the state government.

The producers also discussed the high fees charged by the stars, contending that nobody else but them were making money in the film industry. All these problems, which are faced equally by the Hindi film industry, were discussed in the meeting, which concluded by noting: “Producers and distributors had gotten into the habit of inflating box-office collections of films to paint a rosy picture of the stars of those films in a bid to satisfy their egos.”

This, according to the producers, spurred the stars to further hike their remunerations.

The Telugu industry appears to be serious about the matter and has decided to stop all film activities, including shoots, from August 1.

The Hindi industry, on the other hand, has taken no initiative yet to solve its problems. Looks like they have started believing in their own inflated box-office figures and are happy. Who are these figures fooling except the filmmakers themselves?

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

SS Rajamouli’s strategy for RRR Digital Rights


RRR happened to be the biggest motion picture that released this year. The makers made huge profits despite of the delay in the release and the heaped-up budget. RRR has been streaming on Netflix for the international audience and the South Indian version is available on Zee5. All the digital streaming platforms competed for the digital rights of the film. The initial deals are sealed for Netflix and Zee5. The makers also sold off the South Indian digital rights for Disney Plus Hotstar.

RRR is now streaming on Disney Plus Hotstar from today in Telugu, Tamil, Kannada and Malayalam languages. After the digital platform approached SS Rajamouli, he sealed the deal for a later date. The digital platform also paid a big amount for the streaming. RRR is the first Indian film that is available on three digital streaming platforms. Considering the craze, SS Rajamouli closed multiple deals and pocketed big money by selling off the rights for three streaming platforms. RRR is also the first Indian film that is available in various international languages on Netflix.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

Eight-week OTT gap won’t help; we still need better content


Two developments have caught my attention. One is the decision by the Multiplex Association of India (MAI) that, starting on August 1, all films should adhere to at least an eight-week gap between their theatrical and OTT releases. Presently, the gap between the two releases of a film is four weeks. If the industry, as in filmmakers as well as the exhibitors, think this will help film’s to perform better at the box office, it is debatable.

The other development that said a lot about the way the Hindi film industry functions and makes films, was the statement by S.S. Rajamouli, whose recent Telugu release, ‘RRR’, has proved to be among the biggest blockbusters in recent times. Its dubbed Hindi release has been a big hit too. Rajamouli pinned the decline of the Hindi industry on the failure of the Hindi filmmakers to make films for the masses.

The issue is, will delaying the OTT release create some miracle and help films run at cinemas? Will that prove Rajamouli wrong? Most of all, will it prove the masses, who refuse to turn up in hordes at the cinemas, wrong? And what makes the industry believe that people don’t come to the cinemas because they watch films on OTT!

The fact is, people don’t watch bad films, even on OTT. To confirm that, all one needs to do is check their preferences on social media. Bad films are not watched and, hence, not even discussed. People discuss what they watch, obviously.

If you go by Rajamouli’s observations, this has nothing to do with OTT. It is just that the films made nowadays don’t interest and, hence, attract people to the cinemas. If a film fails to draw crowds on Day One, the opening weekend or otherwise, you cannot blame it on OTT.

Whose decision is it to release a film on OTT eight weeks after its theatrical release, instead of the present gap of four weeks? If it is being advocated by the exhibition sector, they seem to forget that they were in such a desperate situation that during the Covid-19 tapering phase, cinemas in the West were even game to release films simultaneously with OTT platforms, or vice versa.

The purpose of OTT platforms is served if a film is released in cinemas and, as such, gets its promotion and public awareness. An eight-week gap is hardly of any relevance to them. And, finally, do the filmmakers want it that way? I don’t think so. They stopped making films that held their own for eight weeks at the cinema. Sooner it goes to an OTT platform, and a film gets committed to, sooner the encashment of the rights happens.

During the 1980s, when video piracy was a big menace for the box office, films still did very well in cinemas, celebrated jubilees. The reason was that the films had what the masses wanted. In fact, often, after watching a pirated video, people would want to watch it on the big screen. And, all this when the pirated video copies were released simultaneously with films hitting the big screens on a Friday.

The problem is not OTT, or that the people don’t come to the cinemas because they would rather wait it out for a month. Lately, most films are poor in content and do not have the ingredients that bring the audience to the cinema. Even the big-star films have been failing one after the other. They lose traction by the Monday after the weekend in which they are released.

Come to think of it, which recent film has continued to play in cinemas in its eighth week? Just one comes to mind, and that is ‘Bhool Bhulaiyaa 2’, which is still running at a few cinemas, though it was released on an OTT platform after a four-week run.

The way a film is released now, in hundreds of cinemas with multiple screenings per day, if it has to do well, it will show the indications from Day One and generate a few hundred crores within three to four weeks. All big films have proved that. The South dubbed films continue to do so even as Hindi films fall short.

The problem is that the big stars are all delivering one flop after another. But they continue to stick around, instead of taking a break, like a lot many other stars did before coming back to play varied and sometimes big roles. Amitabh Bachchan, Mithun Chakraborty, Jackie Shroff, Anil Kapoor, the late Rishi Kapoor — they all took a break when age went against their image.

When was the last hit from Shah Rukh Khan, Salman Khan or Akshay Kumar? Not one in the last few years at least and that is a long time. The recovery target for their films is extremely high. The difference between a hit and a flop is its recovery in relation to its outlay. And the films of these stars over the past few years have been falling far short of recovery.

Hindi historical dramas such as ‘Padmavat’, ‘Bajirao Mastani’, ‘Tanhaji: The Unsung Warrior’, ‘Samrat Prithviraj’ and ‘Panipat’ were all made on known historical figures, but could not create the required magic at the box office. Compared to these films, Rajamouli’s ‘RRR’ is based on the lives of local freedom fighters about whom we knew nothing in the Hindi belt. The film, however, ruled the box office here as well as in the South.

It is all about the complete package a maker presents — an idea with which the Hindi makers seem to have become estranged.

From what one gathers, if a film does not make its mark at the box office, not many people are keen to watch it on OTT either, even after four weeks. By the ninth week, it will be out of people’s memory. And so much else would have happened in the meanwhile. This way, both stand to lose: the cinemas and the OTT investor.

It is all about making good films. That alone will interest people. We can’t expect a film to do well just because it stars so and so and has cost a lot of money. If you are complaining about South Indian films doing well, collecting crores in the Hindi belt, it is because you have created a vacuum and somebody has to fill it.

The irony of it is that even you know South Indian films are good and that is why you choose to remake them, instead of working on original ideas on your own. The thing is, success does not come on a platter!

Coming back to Rajamouli’s observation that the Hindi industry has stopped making films for masses, let me point out that we don’t have masses coming to the cinemas anymore. Not with the exorbitant admission rates and certainly not since the single screens started vanishing one by one. The South has retained its mass base and, when their films come to Hindi belt in the dubbed version, they come with the endorsement of the masses of the South.

Does Rajamouli have the right to comment on the Hindi film industry? If a man who has been instrumental in making some of the biggest blockbusters in the South, he certainly qualifies to do so.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

‘The Kashmir Files’, ‘Campus Diaries’ top IMDb Top 10 films, web series


The Internet Movie Database, better known as IMDb, has released its list of Top 10 most popular Indian films and web series of the first half of 2022, with Vivek Agnihotri’s ‘The Kashmir Files’ and the MX Player web series, ‘Campus Diaries’, topping it in their respective categories.

Rather than base its rankings on box-office collections, small statistical samplings, or reviews from professional critics, IMDb draws on IMDbPro data on page views of IMDb users in India.

In the movies list, ‘The Kashmir Files’, the surprise hit of the year, is followed by the epic period dramas from the South, the Yash-starrer ‘K.G.F: Chapter 2’ and S.S. Rajamouli’s ‘RRR’, in the second and third spots.

Alia Bhatt’s ‘Gangubai Kathiawadi’ shares the fourth position with the Tamil action thriller ‘Vikram’, starring Kamal Haasan, Vijay Sethupathi and Faahad Faasil. The other movies in the list are the Amitabh Bachchan-led ‘Jhund’, Akshay Kumar’s ‘Samrat Prithviraj’, Ajay Devgn’s directorial ‘Runway 34’, the Disney+ Hotstar film ‘A Thursday’, featuring Yami Gautam and Neha Dhupia in principal roles, and the Malayalam coming-of-age romantic drama, ‘Hridayam’ with Pranav Mohanlal.

Among web series, ‘Campus Diaries’ is followed by Tigmanshu Dhulia’s ‘The Great Indian Murder’, which is based on Vikas Swarup’s best-selling novel ‘Six Suspects’. ‘Rocket Boys’, which tells the story of India’s space pioneers Homi J. Bhabha and Vikram Sarabhai, is at No. 3 on the list.

‘Panchayat’, ‘Human’, ‘Yeh Kaali Kaali Ankhein’, ‘Apharan’, ‘Escaype Live’, ‘Mai’ and ‘The Fame Game’ also find a place in the list.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

‘Craziest thrill ride’: Netflix CEO Ted Sarandos all praise for ‘RRR’


Ram Charan and Jr. NTR in the lead roles in S.S. Rajamouli’s recent outing ‘RRR’ gained enormous popularity after its OTT premiere on Netflix, especially in western nations. Numerous celebrities also discussed the film’s excellence. The CEO of the massive OTT provider Netflix, Ted Sarandos, has just revealed his opinion on the magnum opus.

Ted Sarandos, the CEO of Netflix posted on his Facebook page: “If you have not yet checked out RRR on Netflix, you must. It is the craziest thrill ride of a movie you will see this year. (In Hindi with English subtitles) it is a blast.”

Ted also shared a review of RRR by Rolling Stone magazine, and wrote: “Rolling Stone says, ‘Best and Most Revolutionary Blockbuster of 2022’. Now streaming on Netflix.”

RRR attracted millions of viewers worldwide and earned more than Rs 1100 crores at the box office. Alia Bhatt, Olivia Morris, Samuthirakani, Ajay Devgn, and others have significant roles in the D.V.V. Danayya-produced movie. This biggie had a music by M.M. Keeravaani.

RRR has been on screens everywhere for 100 days. The S.S. Rajamouli-directed Tollywood masterpiece is still on the rampage, inviting excellent reviews from all over the world.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

Filmy Food: Now an ‘RRR’-themed restaurant in the works!


A major Telugu film producer is said to have approached ‘RRR’ actors Ram Charan and Jr NTR about starting a restaurant with the ‘RRR’ brand and has suggested they partner with the film’s director S.S. Rajamouli as well.

If everything goes according to plan, the trio might launch a restaurant with an ‘RRR’ motif. The sources also state that the cuisine will feature top chefs and that the entire decor will be planned to complement the main plot of the film, in addition to offering deliciously real Indian cuisine.

Pre-independence era fashion will likely also be used for the staff’s attire.

After the release of ‘RRR,’ Ram Charan and Jr NTR both became busier in their personal lives and began working on their respective careers. Therefore, it is not known whether they have agreed to work together on the ‘RRR’-themed restaurant yet.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

SS Rajamouli tightlipped on RRR International Recognition


RRR ended up as one more blockbuster for SS Rajamouli and the film minted massive money in all the languages. NTR, Ram Charan, Alia Bhatt and Olivia Morris played the lead roles in this periodic film that is set before the independence. The film is being screened across the international markets after the film received wide reception when RRR was made available on Netflix. Several top technicians, actors and directors from Hollywood lauded the film and the work of SS Rajamouli. This would be a great achievement for the team of RRR and they would have been left in joy.

But none of the team responded about the rave reception the film has been getting from the international circuits. Rajamouli who is active on social media should have responded with a proud tweet or a message. There was no such response from Rajamouli or the team of RRR. Rajamouli is on a break and he is yet to commence the work of his next film. RRR left the makers in huge profits and the performance of the lead actors Ram Charan and NTR are widely appreciated.

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One more rare achievement of RRR


India’s top director SS Rajamouli’s recent magnum opus RRR won the hearts of the audience. The film had a series of screenings for international audience and the response was mind-blowing. Several top Hollywood filmmakers, actors and technicians were left in wow with the film. USA’s leading publication ‘USA Today’ ranked RRR as the Best Film of the year and the film topped the list among the top ten films. “RRR boasts three hours of over-the-top adventure, high-stakes emotion, true love, great songs, wild animals and even some dance fighting. The main men NTR and Ram Charan made the film work” told USA Today.

RRR surpassed several Hollywood biggies and stood on the top. The Batman, The Fallout, Top Gun: Maverick, Everything Everywhere All at Once, Cha Cha Real Smooth, The Northman, Kimi, Master and Turning Red are the other films that made it to the top ten. RRR is now available for streaming on Netflix and Zee5 (South Indian languages). The theatrical run of the film came to an end recently after which RRR is available on digital platforms.

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RRR (all Versions) Worldwide Closing Collections – Fourth highest grossing Indian film

RRR Worldwide Closing Collections

RRR has ended up it’s run worldwide with a humungous gross of 1118 Cr. Distributor share of the film is 557 Cr(excluding GST input). It is #4 movie of all time (for any Indian film) behind Dangal, Baahubali2 & KGF2. The film is a profitable/breakeven venture for all distributors in the Telugu States though exhibitors have lost on it. Few distributors outside the Telugu States have lost on the film. The film has grossed 27.5 Million Overseas with North America alone contributing more than 50 percent of the total gross.

AreaClosing Collections17 Days Collections2 weeks Worldwide Collections12 Days Collections11 Days Collections10 Days Worldwide CollectionsRRR is outstanding on Ugadi Day8 Days Collectionsfirst week worldwide collections6 Days Collections5 Days Collections4 Days CollectionsFirst Weekend Worldwide Collections2 Days Collections AP/TS Day1 CollectionsPre release Business
Nizam111.80 Cr (95 Cr excluding GST input)107.29Cr102.85 Cr101.31Cr99.19Cr97.01Cr90.05 Cr81.48Cr77.17 Cr73.10Cr68.30 Cr61.60Cr53.45 Cr38.40Cr23.30 Cr70 Cr
Ceeded 46Cr43.70Cr42.40 Cr41.85Cr41.15Cr40.20Cr37.70 Cr34.45Cr33.1 Cr32Cr30.5Cr28.5Cr26 Cr21.10 Cr16.50 Cr45 Cr
UA35.50 Cr (30.10 Cr excluding GST input)33.50Cr31.96 Cr31.25Cr30.38Cr29.53Cr26.98 Cr23.64Cr22.63 Cr21.85Cr20.73Cr18.95Cr16.28 Cr11.69 Cr7.18 Cr26 Cr
Guntur 18.10 Cr (15.90 Cr excluding GST input)17.25Cr16.75 Cr16.55Cr16.30Cr16.09Cr15.24 Cr14.21Cr13.81 Cr13.48Cr13.07Cr12.42Cr11.47 Cr9.50 Cr7.70 Cr18 Cr
East15.80Cr15.12Cr14.59 Cr14.37Cr14.04Cr13.75Cr12.89 Cr11.67Cr11.16 Cr10.86Cr10.42Cr9.67Cr8.70 Cr6.98 Cr 5.39 Cr17 Cr
West13.25 Cr12.46Cr12.11 Cr11.85Cr11.64Cr11.44Cr10.84 Cr10.09Cr9.76 Cr9.56Cr9.23Cr8.71Cr8.04 Cr6.95 Cr5.93 Cr14 Cr
Krishna14.70 Cr13.91Cr13.50 Cr13.17Cr12.95CR12.75Cr11.94 Cr10.92Cr10.56 Cr10.23Cr9.78Cr9.08Cr8.03 Cr6.02 Cr 4.16 Cr14 Cr
Nellore10.50 Cr (9.25 Cr excluding GST input)8.87Cr8.50 Cr8.32Cr8.14Cr7.96Cr7.40 Cr6.75Cr6.44 Cr6.18Cr5.87Cr5.42Cr4.81 Cr3.86 Cr3.01 Cr9 Cr
Total AP/TS 265.65 Cr (394 Cr Gross) - 240 Cr excluding GST input252.10 Cr (364 Cr Gross)242.66 Cr (345 Cr)238.67Cr233.79Cr228.73Cr (314 Cr)213.04 Cr193.21Cr184.63 Cr (250 Cr Gross)177.26Cr167.90Cr154.35Cr136.78 Cr (170 Cr Gross)104.50 Cr
73.17 Cr213 Cr
KA43 Cr (83 Cr Gross)42.2 Cr (80.5 Cr Gross)40 Cr (75 Cr Gross)36 Cr (67 Cr Gross)28 Cr (52 Cr Gross)20 Cr (37.75 Cr Gross)50 Cr
TN 42.4 Cr (80.5 Cr Gross)41 Cr (76 Cr Gross)37.5 Cr (69 Cr Gross)34 Cr (62 Cr Gross)25 Cr (46 Cr Gross)17 Cr (31.25 Cr Gross)45 Cr
Kerala10.6 Cr (25.8 cr Gross)10.5 Cr (25.5 cr Gross)9.8 Cr (23.6 cr Gross)9 Cr (21.5 cr Gross)7 Cr (17 cr Gross)5.25 Cr (12.35 cr Gross)10 Cr
North126 Cr (324 Cr Gross)113 Cr (274 Cr Gross)104 Cr (248 Cr Gross)91.5 Cr (221 Cr Gross)70 Cr (162 Cr Gross)41 Cr (94 Cr Gross)100 Cr(valued)
Overseas 95 Cr (210 Cr Gross)90 Cr (197 Cr Gross)
87 Cr (189 Cr Gross)84.5 Cr (183 Cr Gross)71 Cr (153 Cr Gross)58 Cr (122 Cr Gross) 70 Cr
Total 582.65 Cr (1117.3 Cr Gross) - 557 Cr excluding GST input548.8 Cr (1017 Cr Gross)521.96 Cr (949.6 Cr Gross)483.65 Cr (868.5 Cr Gross)385.57 Cr (680 Cr Gross)278 Cr (467.35 Cr Gross)488 Cr

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

SS Rajamouli is back from a Foreign Vacation


SS Rajamouli is relieved with the success of RRR. The film is the new biggest hit for Indian cinema in the recent times. The top director took a break from work and flew abroad with his entire family for a vacation. The top director is back to Hyderabad after a vacation of two weeks. Rajamouli will start working on the script of his next from the first week of June. Superstar Mahesh Babu will play the lead role in this film which will start rolling early next year.

Rajamouli asked Mahesh to be available from January 2023 and the film will be produced by KL Narayana. Mahesh will commence the shoot of Trivikram’s film in July and will complete the shoot by the end of this year. Rajamouli and father Vijayendra Prasad have already locked the basic plot of the film and the team will work on the complete draft. More details to be announced soon.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

Fans upset over re-release of ‘RRR’ uncut version in the US


The uncut version of blockbuster ‘RRR’ will be released in 100 theatres across the United States but fans who do not understand what an uncut version entails, seem to be upset.

Fans are wondering if there are any additions from the originally screened movie in India.

But, the truth is the uncut version refers to the original film that all the audiences have watched, and it is simply a term used by Hollywood to refer to the original film that has not been edited or cut for English audiences.

The theatrical re-release of ‘RRR’s uncut version will be a one-night event.

S.S. Rajamouli’s ‘RRR’ scored big at the box office all over the world as it grossed over Rs 1,100 crore.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

NTR Jr crowned most popular Telugu star


Post RRR, popularity if NTR is scaling new heights. His outstanding performance as ‘Komaram Bheem’ won him many fans across the world. Ormax Media recently conducted a survey to determine the most popular male Telugu stars. With his unwavering craze across India and worldwide, NTR stood at the top of this survey result.

Following RRR, his next is another pan India project with director Koratala Siva. NTR and Koratala Siva previously worked together on ‘Janatha Garage,’ which was a box office blockbuster. NTR 31 is directed by the hit machine Prasanth Neel who made his mark on Pan India audience with KGF 1 & 2.

NTR 30 will begin filming in July, and fans are eagerly anticipating NTR’s birthday, as new information about his upcoming films will be released on that day.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

RRR to be available on Pay-per-view Model


RRR had a dream run at the box-office all over the nation in all the languages of its release. Despite several new releases, RRR managed to stay decent and generated revenues. The theatrical run is expected to come to an end in a week. Zee Studios acquired the South Indian digital streaming rights of the film. The movie would be available for digital streaming on Zee Plex in all the South Indian languages from May 20th.

RRR will be available on pay-per-view basis and the film will not be available for free. At a later date, RRR will be available for free on Zee5. Directed by SS Rajamouli, RRR is one of the costliest films made in Indian cinema. NTR, Ram Charan, Alia Bhatt and Olivia Morris are the lead actors in this periodic drama set before independence. DVV Entertainment bankrolled the film.

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The Most awaited Komuram Bheemudo Video song is out now


Komuram Bheemudo is the best song of RRR and the film elevates the second half of RRR. NTR is just outstanding and emotional to the core in the song. He carries the entire song with his expressive eyes. Kaala Bhairava matches the song with his vocals. The video song of Komuram Bheemudo is out today in all the languages. Sudhala Ashok Teja’s lyrics are the other highlights of the song. Here is the video song of Komuram Bheemudo:

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.



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