It’s been a long while since I
got goosebumps watching a movie and Kantara ensured that and how. This is a
movie that I want to humbly request you to watch, as it’s an experience anyone
who love the magic of films, shouldn’t miss.
I must admit that I haven’t
explored Kannada films as much as I would love to, mostly because the few I
have been introduced to initially, have been in genres that isn’t of my
interest like KGF and others alike. Then I saw Nathicharami which spoke of such
a unique theme, with so much sincerity that I became intrigued and started my
search with smaller movies.
When Kantara trailer was released from the famous Shetty trio (Rishab Shetty, Rakshit Shetty and Raj B Shetty) from Kannada film industry, I was beyond invested, since I am a sucker for movies that explores folklores. I was pleasantly surprised at the theatre, as what I witnessed was a masterclass in acting and choreography and delightful mixture of folklore and mysticism.
You cannot categorize Kantara into only one category as it explores various themes and lets the audience to find their own perspectives. Set in a fictional village and through folklore, the story revolves around the ever-continuing conflict between nature and man’s greed. Being of my own belief, I would like to consider the demigod factor to be representative of the all-powerful nature, that as generation pass by is taken for granted. Do we really own anything that we so atrociously fight for? Despite many acts of nature repeatedly showing us our place, it seems we are yet to learn our lesson that we are given all of the land and it’s benefits out of the generosity of nature. Yet instead of coexisting with it, we foolishly conquer and destroy. To top it all, we also discriminate using caste hierarchy and inflict appalling atrocities upon, the only population which respects nature, the native tribals, who live co-existing with nature.
The film that spans from 80th century through the 90s explores various important themes from caste discrimination to folklore and mysticism, that’s becoming non-existing through generations. An important subplot also explores how the “self-appointed” official protectors can also in turn adversely affect the same land, people, and culture, they promise to protect. It’s a well written arch where it’s narrated that how co-existing with the land and its own indigenous roots is the best way to safeguard the same. Laws of nature goes beyond the laws of land created by humans.
The music composed by Ajaneesh Loknath perfectly complements the film and certainly elevates it at points especially during the stunning climax. Though all the songs are placed properly throughout the storyline it’s the Bhootakola song aka Varaha Roopam that steals the show especially how well it’s choreographed visually. The song also reminded of a similarly exquisitely created song by the Kerala band, Thaikkudam Bridge called Navarasam, again talking about discrimination using the narrative of folklore and much more.
That doesn’t go on to say that Kantara doesn’t have any flaws, the romantic subplot between Rishab’s character and the female protagonist Sapthami Gowda was borderline problematic and only thing unnatural in the plot. I mean in a movie which makes even folklore and mysticism true, what should have been an organic relationship, fails to impress beyond regular masala film shenanigans of eve teasing and trope.
Also, some comedic gags about looks of a person or deformities of some forms, didn’t and will not land for me. Since these are extremely short and does not harm the entire viewing experience of the movie, I could overlook it. Yet, it’s important to note that we have a long way to go on how we represent women on screen and move beyond physical aspects of someone as the definition of comedy. I had to mention this as the same movie made me laugh out loud in multiple other scenes where the jokes were so organic and yet they decided to include these mediocre masala film tactics.
Moving on from the minor flaw to the backbone and biggest asset of the project, Rishab Shetty, who became my favourite from the Shetty trio with this movie. Rishab wrote and directed the movie and also acted as the protagonist Shiva. His commitment and sincerity to the subject is felt throughout and the outstanding climax is just almost half- hour of brilliant acting and story-telling. He portrays the character of the rebel, shiva, with balancing amount of vulnerability, and humanity amidst the masculine and spiritual destinies.
Another important aspect of the movie is its cinematography. It’s so rare to see a film where each frame captivates you into the world of the plot. DOP Aravind Kashyap and art by Raj B Shetty and Dharani Gange Putra, gives the film it’s quintessential natural elegance and brings in spectacularly, the intricacies of the artforms portrayed and world building in the rustic settings.
Most alluring factor of Kantara is that though its plot is regional, the aspects it discusses is universal and everyone can find their own reasons to connect to it. So, in conclusion I can go on about various aspects of Kantara but it will all culminate into the fact that it is a must watch and a gem that Kannada film Industry can proudly own.
With its stellar cinematography
and blend of folklore, Kantara easily becomes a movie that one shouldn’t miss.
Try and catch the movie in a
theatre near you. Remember to be safe and wear your mask.
Exciting review..want to watch it soon..
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