@DeepInThought4U

Kantara is turning out to be a sleeper hit, running chiefly on the fuel of word of mouth.  Very rarely do I venture into a multiplex, but when the family insisted that it was our 'national duty' to watch this film since everyone else was, just as during Dangal, I had to give in.  But of course, my grouse is about the multiplex experience, not the film per se; the film itself is first rate.  

Think of Thithi in terms of the rustic rawness, and you have it in this.  Think of Jallikattu in terms of beautifully lit night scenes in the jungle and background music, and you have them in this.  Think of the eerie jungle mystique of Churuli, and you have that here.  Think of Karnan in terms of the village being under siege and the villagers fighting back against the police/landlord, and you can see the similarity.  

But then Kantara is not confined to any of these descriptions; it stands alone in its own right as a showcase of the culture of Uttara Kannada/Malenadu/Udupi regions of Karnataka, specifically of bhuta kola, or the spirit dance/worship artform.  The situations and dialect is so true to the region, that even Kannada audiences need to read the subtitles sometimes to make sense of the drama, which comes with a smattering of Tulu, the local language.  

Kantara could have ended up like a documentary, but the makers have come up with a clever combination of intrigue, culture, spirituality and humour to keep one engrossed for the two and half hour duration of the film.  I could almost taste the ele-adike (betel leaf & nut) in my mouth as the scenes showing the natural beauty and culture of Kundapura unfolded.  And as touted, the denouement is captivating.  There are sexual innuendos and swear words throughout, which makes it difficult to classify this as a family film.    

The film is not without flaws: it could have lingered on certain moments instead of the breakneck pace we get to see, the change in the landlord's and police officer's characters could have been shown more convincingly, the mother's lament that her son is walking in the footsteps of his father is not explored fully, the entire romantic/sexual angle could have been more implicit or even eliminated, and the background music, though excellent, could have been toned down a bit, but I suspect this is down to the multiplexes jacking up the volume rather than any fault of the makers.  

Kantara goes to show what can be achieved by focusing on our indigenous culture, rather than the standard Bollywood fare that major production houses dish out.  It also demonstrates the stature of regional, especially South Indian, cinema that is growing with every outing.  Not least, this is a successful demonstration of the untapped cinematic potential of our culture, spirituality, smritis, shrutis, puranas, and itihasas, which, if Kantara's success is any indication, we will be thankfully seeing more of.   

The only blemish on Kantara is that one of its songs appears to be more than 'inspired' by another music group's song which is at least five years old.  It would be prudent for Kantara's makers to acknowledge this if they haven't done so, and give due credit to the original song's makers.  

This does not, however, diminish what Kantara otherwise achieves.  In a time when needless remakes of old classics or films from other languages are the norm - not to mention the biopics galore on every conceivable high achiever - Kantara is a rare danta kathe, or a folktale, that is remake-proof: neither is it a remake of anything else, nor can anyone remake it into another language given that it is a product of a specific local culture.  

So, well done to the entire team.  Highly recommended viewing!  

Kantara: A Legend-Chapter 1 - update November 2025

Subtlety is often the casualty at the altar of grandiosity. 

Kantara, unfortunately, has fallen prey to this phenomenon. 

Sadly, the legend has been somewhat superseded by stardom. When rousing music welcomes the hero and he mouths words such as 'did I arrive late?' upon entry - ostensibly to other characters, but really to his doting fans - you should know that stardom and onscreen persona have taken a higher position than the story. 

I believe the brief given to the makers by the producers was to reimagine the first one on a much grander scale. Only, it has ended up becoming louder and needlessly complicated. Bigger does not always mean better, and this one is certainly several notches below the first one. If only they had focused more on the actual bhuta kola tradition and the bhakti aspects. 

The plot appears fully fictitious, as opposed to partially fictitious that the first one was. This one does not add to or explain the story of the first one. 

One scene - the fight upon a disintegrating temple chariot - appears very similar to the wheel-fight scene from one of the Pirates of the Caribbean installments. The setting and plot is somewhat reminiscent of the Kannada classic, Ondanondu Kaladalli, although I must hasten to add that the latter, though dated, is far superior. 

I hope the makers resist the temptation to milk the franchise, or, at the very least, keep it subtler and relevant to the bhuta kola legend. 

Can't stand another pointless adu innondu danta kathe. 

After a long time, certainly not since Oggarane, have I come across a Kannada film that conveys what it has to say subtly without any over the top shenanigans.  To be fair, I haven't watched too many films recently to compare this with other similarly paced ones, but I am sure these are few and far in between, given Kannada films' penchant for the bombastic and sometimes crude wordplay.  I must admit, I was sceptical going into this one for these very reasons, but I am happy to report that Sakutumba Sametha is not guilty of any of these irritants.

The Sakutumba team has managed to show that convoluted storylines, toxic masculinity, raunchy item songs, heavy/crude dialogues, crazed facial expressions, enhanced dramatics, positive endings and similar cinematic tropes are not required to create good content.    If anything, Sakutumba subverts these tropes to include nuanced expressions, subtle humour, day to day conversational dialogues, natural acting, and an open ending, to stitch together a compelling and engaging lighthearted comedy drama that Kannada cinema was so badly in need of.  

Sakutumba has the basic premise of marriage at its core, around which situations and relationships are created/explored.  Is it only the bride's family that is desperate to find a match?  Does a man have it easy in terms of finding a match and dictating terms to the bride's family?  Is it always a man's prerogative to accept or reject a marriage proposal?  Should there be a definite reason to cancel a wedding?  What if the groom's side is more accommodating and flexible than the bride's?  Sakutumba tackles these issues bravely to present a realistic modern day picture of marriage and fractious family relationships minus the patriarchal claptrap that marital issues are usually ensconced in.

My only grouses are minor: there are occasional gaps in between dialogues which make them appear stilted, family members start bickering with each other in front of the other family whereas they are likely to be guarded in such situations, and if it had had a more definite ending it would have rounded things off neatly.  But like I said, I am nitpicking; overall this is a rare exercise in subtlety that is suitable for viewing by all, or make that sakutumba sametha!

As a content creator myself, I understand the makers' motivation to create content with passion and quality as driving forces, rather than mass appeal and commercial considerations.  For this reason alone, well done to the entire team, especially the writing/directing team, and Paramvah Studios for backing such a project.