All the signs of a traditional love story for men of the RRR group are given – a pleasant meeting, a musical interlude that heightens affection, the exchange of a protective thread, conflict, a gap and a reunion.
Queer Gaze is a monthly column in which Prathyush Parasuraman examines the effects of cinematic and live-streaming weirdness – intentional or unintentional, thoughtful or unthought, reckless or sexy.
The obstacle of whipping your lover, the eros stripping their frantic bodies, the intensity of feeling–both love and hate–among the leading men in $$$$ It lends itself to a curious read about gay as a homosexual. Perhaps the two men, Ram Charan as Rama Raju and JR NTR as Bhim, should have just had sex.
Movies that drum up masculinity and muscles to the point of female repetition present themselves as willing and submissive bodies with a grotesque perspective, like the Kannada gangster movie. Garuda Jamana Frishabha Vahanam, Like an Indian romance war, A Tamil movie tickle the crook Caddisella Biryani.
There is no space for femininity, elevated as it is by the gay man. Given to Ram Raju and Bim two lovers as a narrative bounty, each woman is saddled with an insurmountable distance—with Sita (Alia Bhatt), she’s actual, and with Jenny (Olivia Morris), she’s a linguist; They do not share the same space or the same language.
All the signs of a traditional love story It is, instead, given to men A pleasant meeting, a musical break that increases affection, an exchange of protective thread, conflict, chasm, reunion. Such is the sensibility of SS Rajamouli, drawing on the familiar — the myths we’ve heard, the storytelling molds we assumed were features of life — but we’re covering it up in the growing rage of a drama that feels like all you’re watching, you’re watching for the first time. As if he invents cinema, cinematic dread, desire and approval.
A thought experiment, then. If the two men had already had sex, would that have made the movie more Like me?
Catherine M in her book The sexual life of Catherine M., As she impersonally recounts her prolific sexuality, from gangbang bangs in Italy to orgies in Paris, she notes, “Having sexual relations and feeling the desire[are]almost two separate activities.” In this case, there is strangeness with regard to desire, and there is strangeness with regard to the act of sex. With $$$$ Tapping – very insistently – on the former, I wouldn’t make the desire between them more or less gay if they actually had sex. You don’t necessarily have to be a weirdo if you’re coded as gay, anyway. Gender per se is irrelevant in this case, then.
This insistent homosexuality in a violent film is not surprising. Sigmund Freud suggests that there is a connection between sex and violence, and a thread that connects the pleasures of beating – on the streets, between the sheets. Jacques Lacan, the French psychoanalyst, expresses this relationship explicitly with the French word ‘joySimply put, it is my pleasure. jouer She is a French oncoming, climax sex. But for Lacan, pleasure is that moment beyond the threshold of pleasure, when pleasure becomes pain.
at $$$$, Also, pain is closely related to pleasure – When a snake bite causes Fahim to strip off his clothes from Rama Raju’s convulsive body, when Rama Raju whips Fahim, whose knees have refused to scratch the floor, when they exhaust themselves doing theNATO NATOWhen they jump off a bridge together tied with two ends of a rope, they slip each other over the other’s shoulders when the other’s knees are weak.
Any pleasure this film gives its characters must first travel through pain, a relationship best expressed in queer cinema, through the pain of anal sex (LOEV), the lingering question of illness in a stray moment of eros immersion (Theo and Hugo(Crust of Solitude in a Verb for Two)firebird), the escalating threat to sailing (Stranger by the lake), what queer critic Leo Bersani described, “The greatest human happiness is exactly the same as the greatest human misery.”
Now, you might well be wondering why we need weird readings in this time and age, when we’re slowly creating a steady stream of intentionally ingenious and ingenious films – films from which you don’t have to draw the weirdness out like I do with $$$$? It’s a fair question, because such readings can produce the same fatigue as an excessive telescope.
But what if the queer spectator is looking for revenge, and that is the source of these offbeat readings of seemingly straight movies?
Because history has explicitly kept the weirdness out of its records on purpose. Oddity then had to slip between the cracks as subtext and subtle.
Take Alfred Hitchcock’s example Rope (1948) where the line is placed—intentionally, for example, given the film’s gay writer—”You really strangle a good chicken, I recall” to bypass the stifling production law (“chicken strangle” is slang for male masturbation). The eccentricity of cinema in this oppressive period survived only through sleight of hand.
Also take in the Jamali Kamali Mosque and Tomb in Delhi. Jamali is a Persian Sufi poet who died in 1536. However, little is known about Kamali. They were buried together – with a box of pens on top on the tomb of Jamali denotes the pen with which he wrote, an architectural form common among male saints, while the tomb of Kamali is flat on top, like those inhabiting women, representative of the paper on which he wrote a pen using his eloquence. The alignment of the graves is different from the alignment of A Bear MuradMore like those buried as lovers. Described as the ‘gay Taj Mahal’ – the entrance gate to the courtyard with the tomb is now closed, only access to ‘ASI types’ is allowed – local lore invokes Jamali and Kamali lovers. However, the ASI board of directors outside the mosque bluntly notes that “(Kamali’s) identity is unknown.” This is.
So when authors like Hoshang Merchant look at Dusty (1964), anand (1971) and Sholay (1975) as queer films, part of which comes from wanting to enter the dance floor of history, which is notorious for being devoid of outright alien presence.
But today, when perversion is incorporated into culture, almost to the fault of reproducing the same abuses and insults of the opposite sex, does perverted reading do anything? Abnormal reading should do anything, except confirm its observations, enjoy desire, intention, or aversion. Should you see in masculine masculinity not what they want you to see – men as men – but what
you I want to see – men over men?
RRR is shown in cinemas.
Prathyush Parasuraman is a critic and journalist who writes a weekly newsletter on culture, literature and cinema for prathyush.substack.com.
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