Possibly the biggest head-turner in this year’s Oscars nomination list,S S Rajamouli’sRRRlooked like one of the stronger contenders to make it into a few categories at this year’s Oscars. When everyone expected an easynomination forRRRin the Best Picture category,the snub by the Academy of Motion Picture Arts and Sciences feels like one of the biggest movie disappointments of the year. While everyone in Hollywood cannot stop raving aboutRRR, the Oscar snub reveals how the Academy still prefers to stick with a certain idea of cinema that it intends to defend at any cost.
Oscar snubs aren’t a new thing for film lovers who have witnessed many beloved films being rejected by the esteemed Academy. However, only giving one nomination to one of the biggest surprise hits of the year reflects that the Academy refuses to acknowledge the distinctness ofRRRas a film that has garnered audiences globally. Just limiting the appreciation to the Best Song category for a film, which has introduced film-going audiences to a way of filmmaking unbeknownst to them, reflects the Academy’s blind-eyed treatment of the preferences of the audiences.
‘RRR’ Redefines the Idea of an Action Film
More than anything,RRR’s most significant achievement lies in its ability to redefine what films, in particular action films, should look like. It seems odd that when the Academy can acknowledgeTop Gun: Maverickfor the Best Picture category, it would refuse to do so forRRRwith the only difference being that the action thatRRRbrings to the table isdistinct from the idea of action films that Hollywood has cultivated.And for this very reason,RRR’s Oscar snub becomes a bigger cause of concern because it indicates that the Academy’s preferences lie on a limited spectrum of imagination that denies acceptance of films likeRRRthat dares to break out of the mold of action films. Bheem’s (Jr NTR) epic tiger fight scene and the palace entry scene amplify the meaning of what action scenes could aim for.
Beyond the action,RRRshould have been nominated for Best Picture for the way it presents a refreshing style of filmmaking to audiences - a style in which every shot is ideated and curated to evoke awe. One of the most consequential impacts ofRRRas a piece of cinema has been its ability to prove that cinema can be larger than life yet leave an impact that’s deeper than any other. SS Rajamouli’s cinema imagines its protagonists as the personification of heroism. In the entry scene forRam Charan’s Raju, he fights an entire horde of protestors alone, and in one of the most emotional scenes of the film, Bheem continues receiving whips without giving up his pride. During these moments, the two protagonists rise above their human limitations as if they are the leads of a superhero film, yet they continue to bleed and suffer.RRR’slineage can be traced to a brand of cinema that foregoes the limitations of what’s possible in favor of what’s exciting - something that’s no longer cherished in cinema circles. Undoubtedly, it is these moments inRRRthat made it a spectacle to witness and that pushed audiences to think that they are witnessing something rarely seen in films anymore.
In any other film, the bridge scene in which Raju and Bheem join hands to rescue a boy stuck amidst flames will seem absurd; but in the world ofRRR,the scene fits in perfectly.RRRpulls the biggest stunt here by not showing the protagonists jumping off the bridge but by instilling believability at the moment without the help of any logic to back it.RRR’sgravity-defying stunts work because of the conviction and the vision behind them. The same conviction percolates to the less grand scenes of the films. When the action subsides and emotions take over, the impact still remains the same. The recurring flashbacks, the heat-pumping entry scenes, the dance-worthy music, and the emotionally-drenched moments all make for the blockbuster cinema thatRRRis and for something that’s rarely attempted.
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‘RRR’ Got Snubbed Because It Subverts Hollywood Expectations
For the Academy,RRR’sobvious weakness would be the absurd treatment of its characters and over-the-top world-building, which are obvious by-products of the creative vision and the distinct filmmaking behind the film. But by solely basing its decision on these factors, the Academy has refused to acknowledge the mass appeal that a film likeRRRpossesses due to these very factors which it deems as unfit for a nomination. It is not that the Academy refuses to accept widely popular films: The inclusion ofTop Gun: MaverickandAvatar: Way of Waterproves that the Oscars have made peace with films that have found wide acceptance among audiences.
ButRRRstands apart from these films because while widely popular, it is one contender that did not fall within the Hollywood mold. In essence, the very reasons that madeRRRstand apart and find popularity among movie-going audiences across the globe became its Achilles heel when it came to be honored by the Academy. Even in its acceptance of maximalist films, the Academy loves to cherish its own idea of what these films should look like rather than accepting films such asRRRfor their creative merit and ability to inspire critics and audiences alike. The jaw-dropping climax fight scene in the forest is in itself a lesson in executing maximalist action. The no-holds-barred nature ofRRR’saction culminates in a scene that could give any big-budget Hollywood action production a run for its money. But the Academy’s tendency to refuse international films the credit they deserve becomes the biggest hurdle inRRR’spath whereasmaximalist filmssuch asEverything Everywhere All At Once, Avatar: Way of Water, andElvisdid not find such trouble.
‘RRR’ Is Another Title on the Academy’s Long List of Snubbed International Films
The Academy has a long history of snubbing international films. RRRis just another entry on this list of international films that have been ignored due to the fact that it’s not told in English. This year,Park Chan Wook’sDecision to Leaveis another victim of this inherent bias that prevails when the Academy sits down to consider deserving nominees. The fact that only a handful of international films such as 1937’sGrand Illusionand 2012’sAmourhave made the cut for the Best Picture category does not mean that not enough international films have achieved the high standards set by the Academy. The low number of international films that have been actually nominated and the even lower number that have won an Oscar just reflect the ignorance the Academy has shown towards non-American and British films. The recent victory forBong jo Hoon’sParasiteand last year’s nomination forRyusuke Hamaguchi’sDrive My Carare deviations from the Academy’s appalling record when it comes to crediting international films. TheRRRandDecision to Leavesnubs this year are a greater embarrassment for the Academy which deems itself the most esteemed authority on films.
‘RRR’ Remains Distinct Despite Its Wide Appeal
Among the films that were in contention for this year’s Oscars,RRRdeserves more attention and respect solely due to the fact that it manages to stick to its origins and deliver a story and a film that bespeaks the cultural ethos and sensibilities of everyone involved in its making. WhenParasitebecame the Best Picture winner, it brought hope that finally, the Academy will give due respect to films that find relatability with film lovers although, in essence, they remain distinct in their identity.RRR’s characters, themes, and story ride on the same relatability that makes such films popular with all types of audiences, not just action film audiences. The historic setting ofRRRwith two fictional protagonists inspired by real-life figures from Indian history lends the film its foundation that’s uniquely Indian. Despite a story that banks heavily on its nationalism,RRR’sglobal appeal is connected to its themes of love, brotherhood, and retribution. While the story is distinctly connected to British-Indian history, the themes help bring a factor of relatability to audiences who may not be aware of the actual history.
By ignoringRRR,the Academy has once again proven that while occasionally it will allow wisdom to prevail, more often than not, it will still let its self-defined limitations create a barrier to entry to the ceremony at Dolby Studios. If anything, the inclusion ofRRRbeyond Best Song would have been an indication that the Academy is willing to move beyond these limits. The Oscars, undoubtedly, need to evolve with the times and start including mass international films such asRRRif it wants to stay relevant. AlthoughRRR’s"Naatu Naatu" song keeps the Oscar dream alive, it is high time that the Academy revisits the parameters on which it picks the most deserving films. It might end up with them discovering thatRRRdeserves more credit than it has been given.
