Kavaludaari success augurs well for daring film makers

Hemanth Rao’s second film is a thriller that holds your attention even after you know whodunit. Its box-office success should reassure directors such as Rakshit Shetty of Ulidavaru Kandante fame.

The title of Rakshit Shetty’s directorial debut Ulidavaru Kandante couldn’t have been more ironical. It means: ‘As seen by the rest.’ Ulidavaru Kandante was a debacle at the box-office. Released five years ago, only a small audience could relate to Rakshit’s style of filmmaking. In the eyes of the rest, the film was a visually pleasing effort that failed to entertain.

Ulidavaru Kandante was expected to join Lucia and inspire new generation Kannada directors to make films that don’t lean on tried and tested methods. Despite its unconventional nature, Lucia worked because it didn’t just appeal to the eyes but also engaged the brain.

Ulidavaru Kandante, when it hit the theatres, managed only to impress cineastes.

Rakshit’s film was self-indulgent. It appeared like a homage to his favourite auteurs from world cinema. The sluggish narrative didn’t strike a chord with the masses.

That said, Ulidavaru Kandante is by no means a bad film. Adjudged best debutant at the State awards, Rakshit had made a film that was to be ‘experienced’ and not just ‘seen’. He focused more on the ‘how’ (the process) more than the ‘what’ (story) of film-making. With great care given to detail, Ulidavaru Kandante attempted to be ‘pure’ cinema. Brilliantly shot, it gave a glimpse of Rakshit’s talent.

Today, the film has attained cult status. However, box-office failures can dent the confidence of rookie directors. Rakshit hasn’t helmed a second venture.

But Rakshit’s contemporary, Hemanth M Rao, has been lucky. His beautifully-made sophomore flick Kavaludaari is enjoying a good run, indicating the Kannada film goers’ acceptance of ‘pure’ cinema. The audiences, it seems, aren’t so adamant on total entertainment.

Like Ulidavaru Kandante, it’s easy to dismiss Kavaludaari as self-indulgent. Much to the disappointment of ardent lovers of crime-thrillers, the big reveal is made right at the beginning of second-half. Hemanth’s obsession with coincidences is questionable. But these are minor shortcomings for which one cannot go harsh on a gifted director like him.

Hemanth’s technical mastery is evident in how he shows the flashback. It’s a brilliant lesson on staging in films. Hemanth is a smart film-maker who doesn’t waste scenes. The traffic jam scene (made convincing by a terrific Rishi) might appear random but look closely and it’s the director trying to show today’s Bengaluru in a film that’s set in two different eras.

Read our review of Kavaludaari

Kavaludaari doesn’t settle at being a thriller. One can draw different meanings from it. Gautam Vasudev Menon rose to stardom with his trilogy on the same idea in Tamil. Kavaludaari, in a way, is Sandalwood’s answer to Khaakha Khaakha, Vettiyadu Vilaiyadu and Yennai Arindhaal. They show the high risks and everyday struggles in the police department.

There is another clever nod to Indian politics. It talks about how power-hungry leaders are born from the unlikeliest of places and how the fall of one unworthy leader doesn’t clear the mess.

The writing matches the core idea of the film. Each character, like the title, is at the crossroads. Their moving journey, blended nicely with the plot, makes Kavaludaari an engaging watch.

The streaming revolution has introduced the audience to a wide range of concepts. They aren’t satisfied by the ordinary. Without doubt, a film’s basic duty is to entertain. But there are some films that might not ‘entertain’ even as they are engaging and interesting. Both types of cinema are slowly co-existing, and that’s a step forward in the Kannada industry.

Rakshit has reportedly begun work on his second film, titled Punyakoti. Hemanth, who made a successful debut with Godhi Banna Sadharna Mykattu, could be a game-changer in Kannada industry. The audience must give space to exciting prospects to grow and not be ruthless in their judgement. Only then can we be proud of namma cinema.