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Hombale Films’ Kantara (dubbed from the Kannada film of the same name; UA) is an action thriller. The film starts in 1870. The king ruling in his kingdom in Karnataka has all the riches but is still not happy because he doesn’t have peace of mind. He trades his vast expanse of land, which he agrees to gift to the local tribals, in exchange for joy and peace of mind promised to him by Daiva (a local demi-God or form of spirit which is worshipped by locals of Tulunadu and some parts of Malenadu in Karnataka and Kasargod in Northern Kerala). A hundred years later, the king’s successor wants the land back, but he is killed by Daiva. It is 1990 now. An upright forest officer, Muralidhar (Kishore Kumar G.), is keen to ensure that the forest land is untouched, but Shiva (Rishab Shetty) gives him a tough challenge as he feels, the land belongs to the locals. Shiva is backed by the present-day successor to the king viz. Devendra (Achyuth Kumar). What happens thereafter? Who gets the land and how?
Hombale Films’ Kantara (dubbed from the Kannada film of the same name; UA) is an action thriller. The film starts in 1870. The king ruling in his kingdom in Karnataka has all the riches but is still not happy because he doesn’t have peace of mind. He trades his vast expanse of land, which he agrees to gift to the local tribals, in exchange for joy and peace of mind promised to him by Daiva (a local demi-God or form of spirit which is worshipped by locals of Tulunadu and some parts of Malenadu in Karnataka and Kasargod in Northern Kerala). A hundred years later, the king’s successor wants the land back, but he is killed by Daiva. It is 1990 now. An upright forest officer, Muralidhar (Kishore Kumar G.), is keen to ensure that the forest land is untouched, but Shiva (Rishab Shetty) gives him a tough challenge as he feels, the land belongs to the locals. Shiva is backed by the present-day successor to the king viz. Devendra (Achyuth Kumar). What happens thereafter? Who gets the land and how?
Rishab Shetty has written an interesting story, along with co-writers Anirudh Mahesh, Shanil Guru, G.L. Sham Prasad, Prakash Thuminadu and Raj B. Shetty. However, the story has immense local flavour and appeal as the concept of Daiva being worshipped is typical to the geographical location where the drama is set. The Hindi film-going viewers will not be able to closely identify with that part of the story and screenplay (also penned by the above team) which deals with the portions about Daiva, which is actually the backdrop of the drama and is very typical. Otherwise, the drama keeps the audience fairly engrossed. The climax is excellent. Manoranjan Das’ dialogues are so-so.
Rishab Shetty does an excellent job in a double role — of Shiva and his father. When he becomes Daiva in the climax, he is simply outstanding. He acts with the right amount of attitude which is required for the character. His performance in the climax is absolutely noteworthy. Sapthami Gowda does a fair job as Leela. Kishore Kumar G. leaves a mark as forest officer Muralidhar. Achyuth Kumar lends good support as Devendra. Manasi Sudhir acts with effortless ease in the role of Shiva’s mother. Vinay Biddappa plays the king in a cameo appearance; his acting is natural. Pramod Shetty is impactful as Sudhakara. Prakash Thuminad has his moments as Raampa. Swaraj Shetty makes his mark as Shiva’s cousin, Guruva. Mime Ramdas (as Naaru), Deepak Rai Panaje (as Sundara), Raghu Pandeshwar (as a forest officer), Suchan Shetty (as another forest officer), Shanil Guru (as Bulla), Prabhakar Kunder (as Mahadeva), Ranjan Sahu (as Lachchhu), Pragati Rishab Shetty (in a cameo appearance as the king’s wife), Rakshith Ramachandra Shetty (as Devendra’s henchman), Shine Shetty (in a cameo appearance as Devendra’s father) and the rest lend reasonable support.
Rishab Shetty’s direction is very good, more so in the post-interval part. B. Ajaneesh Loknath’s music has the Kannada flavour. Lyrics (Akshay Punse, Pravin Koli and Yogita Koli) are quite alright. Song picturisations (by Raj B. Shetty and Kula Bhushan) are fairly nice. B. Ajaneesh Loknath’s background music is impactful. Arvind S. Kashyap’s cinematography is superb. Action and stunt scenes (choreographed by Vikram More) are thrilling. Dharani Gangeputra’s production designing deserves mention. Editing (Pratheek Shetty and K.M. Prakash) is okay. Dubbing is average.
On the whole, Kantara has too much of a regional flavour and hence the dubbed Hindi version cannot be expected to repeat the runaway success of the original version. It will do very limited business at the all-India level.
Released on 14-10-’22 at Maratha Mandir (daily 1 show) and other cinemas of Bombay thru AA Films. Publicity & opening: dull. …….Also released all over. Opening was weak everywhere.