Selvamani Selvaraj does an excellent job in building up the tension particularly shining in his handling of psychological drama. The ego tussles between Dulquer and Samuthrikani has come out well with both men having flaws of their own. The prominent female character played by Bhagyashri Borse has some solid scenes too: but once the movie slips into murder mystery proceedings start to stagnate. The secondary characters with the interpersonal dynamics needed more texture.
Starcast: Dulquer Salmaan, Samuthrikani, Bhagyashri Borse, Rani Dagubatti, Ravindra Vijay and others
Genre: Thriller/drama
Director and writer: Selvamani Selvaraj
Additional writer: Tamizah Prabha
Cinematography: Dani Sanchez- Lopez
Music: Jhanu Chantar
Producers: Rana Dagubatti, Dulquer Salmaan and others
Production Companies: Spirit Media and Wayfarer films
Running time: 2 hours and 43 minutes
Some movies sound very promising on paper but get lost in translation. Kaantha is a perfect example of this category. The movie has big ideas with a potential edge of a sit thriller, but the film stumbles big time after solid world building. However, all isn’t lost thanks to the solid trio of Dulquer, Samuthrikani and Bhagyashri Borse. The dramatic portions exploring why things went sour between a superstar and a director/father figure has come out well giving a cautionary message on how bruised egos are never good and the need to sort differences. The surprise package though is Bhagyashri Borse something which I will get to later.
The timeline of Kaantha is 1950’s. Dulquer Salmaan is superstar TKM (Thiruchengode Kalidasa Mahadevan). His journey perfectly fits the caption of rags to riches. The movie begins with the death of Bhagyashri Borse’s Kumari. She is a first-time actress and a protégée of Samuthrikani’s TPK much like Kalidasa Mahadevan. TPK is also called as Ayya. The first half is primarily about the revival of TPK’s most ambitious project, a story connected to his mother’s death. How the film gets a second life amidst an air of tension and what led to the strained relationship between TKM and TPK occupies a major space. Running parallel to this is a budding love story between Kumari and TKM. Kalidasa Mahadevan finds true love with Kumari, but the path is riddled with obstacles. The second half slips into a murder mystery with numerous suspects and motivations. Rana Dagubbati is inspector Devaraj alias Phoenix. Devaraj has his own way of going about things. There is a quirky nature with some sarcastic humor.
A strong aspect of Kaantha is undoubtedly its world building. Selvamani Selvaraj along with Tamizah Prabha do a good job in gradually unravelling the tension. In the beginning the viewers are given the impression of TPK being a pure soul with TKM projected as narcissist with huge ego. However, as the movie progresses the viewers understand that both come with their own share of issues. TPK too has a god like complex on certain occasions making him no less of a narcissist.
The movie also does a fine job in depicting big male stars overriding director’s vision according to their whims and fancies so that the fans won’t get upset. There is a contemporariness though the plot is set in 50’s. The addictive nature of fame and what happens if a person isn’t able to have a levelheaded approach has been well written and enacted too.
Bhagyashri Borse as Kumari also has an important role. She is never reduced to a pawn and comes across as a strong woman who isn’t afraid to voice her opinions. Bhagyashri does an excellent job in bringing alive both the innocence and a strong-willed nature. Her presence can be felt even when Kumari’s isn’t physically alive.
Kaantha is also technically strong more so in the cinematography and background score. The cinematography of Dani Sachez Lopez is excellent transporting the viewers successfully back to 1950’s. He also does a fine job in capturing the tension filled atmosphere with the eerie settings and a certain kind of lighting. Jakes Bejoy’s background score is of a good order too especially in the portions of Dulquer and Samuthrikani’s face off. Both Dulquer and Samuthrikani don’t need a special introduction on their acting abilities and here too both shine equally. Two scenes deserve a particular mention. One is Samuthrikani’s breakdown where TPK expresses his regret on behaving in an egoistic manner and how they should have had a proper conversation fixing the issues. The second one involves Dulquer staring into a mirror. TKM shrinks back as he is confronted with uncomfortable truths. Dulquer is absolutely first rate in this.
Rana Dagubbati as Devaraj lifts a very muddled second half with his sarcastic humor. His way of investigating the case has some nice touches. A specific mention must be made of the scene where he is casually dismissive of TKM’s acting abilities.
A major problem with Kaantha are the underdeveloped secondary characters. The suspects barring Dulquer and Samuthrikani are hampered by sketchy characterizations. Even TKM’s interpersonal relationships with the wife and the father-in-law needed better writing. Selvamani Selvaraj tries to do an Agatha Christie but falls flat on his face.
Some of the characters like Kumari’s friend a fellow refugee from Burma had good potential but the weak writing plays a major spoilsport. The music also leaves something to be desired. A movie of this scale required better songs.
Final word: Kaantha can be watched for fans of Dulquer. The charismatic actor doesn’t disappoint but don’t except a wholesome experience.
