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Kantara Movie Review : It’s a Rishab Shetty show all the way

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Kantara Review: Insanely Entertaining, Propelled By Rishab Shetty's Blindingly Good Star Turn

Kantara review: a heady blend of history, myth, folklore, high drama and stylishly choreographed action neatly wrapped in a form firmly rooted in the cultural milieu it has sprung from..

A still from Kantara trailer. (courtesy: HombaleFilms )

Cast: Rishab Shetty, Kishore, Achyuth Kumar, Sapthami Gowda

Director: Rishab Shetty

Rating: 4 stars (out of 5)

A visually sumptuous, instantly immersive spectacle mounted with extraordinary vim and vigour, writer-director-actor Rishab Shetty's Kannada-language Kantara , now on nationwide release in Hindi and other languages, is a heady blend of history, myth, folklore, high drama and stylishly choreographed action neatly wrapped in a form firmly rooted in the cultural milieu it has sprung from.

Shetty is also the writer and lead actor of the film. As screenwriter, his output is probably just a touch shy of being perfect, but the script has enough heft and vibrancy to translate into a mass entertainer that is visceral, rousing and unwaveringly riveting.

A wide array of things makes Kantara the incredible film that it is, but the most prominent of all are the on-screen performers led admirably well by Shetty. He packs a punch that sends us reeling and continues to reverberate long after the film has run its course.

The film kicks off at scorching pace. The introduction of a divine spirit that watches over the forest and a stirring Kambala buffalo race within the first 15 minutes or so of the film set the tone. Getting accustomed to the sensory overload takes a while. However, once the two-and-a-half-hour film's design - both visual and aural - reveals itself in all its splendour, everything falls into place and draws the audience into the spellbinding Kantara (literally, mystical forest) universe.

The potent drama focuses on the fraught power dynamics, social and divine, that have forever been at play in a coastal Karnataka village where a seemingly benign feudal lord wields unlimited, unquestioned authority over the people. He decides what is good for the villagers. The latter go along.

It isn't servility that underpins the relationship between the master and his serfs. The key is loyalty. It has been built over decades of what feels like benevolence but may not be what it appears to be. Also central to the plot of Kantara is a conflict that arises from threats posed to the rights of forest dwellers over the swathes of land that have been their home for centuries.

In the lead role, Shetty brings dizzying energy to bear upon his performance as the buffalo race champion Shiva, a fiery young rebel with a cause. The young man has to contend with demons of his own mind - recurring nightmares in which he sees visions of the reigning deity in a wrathful avatar drive him to the edge of despair and a constant need to give vent to his rising ire.

His impulsive response to provocations put him on a collision course with the powers that be and his own mother, Kamala (Manasi Sudhir). She frets in vain over his compulsive hunting of wild boars - an act that is linked to the unsettling dreams that repeatedly interrupt his sleep - and violent confrontations with the landlord's henchmen.

The actor-director creates an electrifying larger-than-life figure whose volatile ways shape the frisson that pulses through the film. The young man, perpetually on a short fuse, is foresworn to protecting the village from forces out to rob the indigenous population of access to their ancestral land. Friction between him and government officials erupts because the latter are loath to accept that the forest belongs to the villagers.

Kantara , a film of phenomenal sweep and power, delivers a blindingly brilliant climax and a build-up to it that send the film soaring to the sort heights that only truly great commercial films have ever attained. The cinematography by Arvind S. Kashyap and the musical score by B. Ajneesh Loknath are magnificent. They work in tandem to create an impactful, out of the ordinary movie experience.

As tensions peak in the village and the forest's demigod (ritualistically celebrated in the annual Bhoota Kola ceremony) lurks in the background and is always ready to strike, the nature and dimension of Shiva's fight become clear.

Shiva's biggest foe is an upright deputy forest range officer Muralidhar (Kishore) who will stop at nothing to ensure that the government's writ runs. The landlord Devendra Suttur (Achyuth Kumar), Shiva's master and benefactor, makes common cause with the feisty young man. But are the powerful arbiter's intentions above board?

The opening moments of Kantara provide some broad historical clues. In quick succession, the script details the context of the present conflict. In 1847, the King, at the bidding of the Panjurli (boar) demigod, hands over a large expanses of land to the tribal denizens of the forest and is in return assured of decades of peace and prosperity.

Many generations later, the King's successor, driven by greed and drunk on power, wants all the land to be restored to the royal family. The deity, infuriated at the violation of the long-standing covenant, metes out instantaneous punishment to the offender. In 1990, the year in which Kantara is set, a government officer arrives in the village with a brief to wrest control of the forest land under his charge.

Legends and myths prevalent in the area and beliefs flowing out the forest dwellers' collective memory constitute the narrative crux of the story. The film is marked by a deep sense of the unique ethos of the people it is about.

Shiva, a Bhoota Kola ritual performer, represents a hoary custom but has passed on the mantle to a cousin because he was witness to the disappearance of his father while he was in the guise of the demigod. The loss still haunts Shiva and spurs him on to fight for the protection of his cultural/spiritual moorings.

Shiva is a virile defender of his people and their animistic philosophy, but he isn't the conventional, insuperable Alpha male that films such as KGF, RRR and Pushpa have brought back to the Indian cinema mainstream and made a box-office killing in the bargain. Kantara resists the temptation and is none the worse for it.

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The climactic good-versus-evil confrontation - it isn't an ordinary hero-vanquishes-villain construct, catapults Kantara to an exalted plane. It offsets the one drawback that dilutes the film's a bit. Such is Shiva's halo that the characters around him - his friends and his girlfriend Leela (Sapthami Gowda) - are not quite as vivid as the other technical and narrative elements of the film.

In the light of the sustained overall finesse, anything in this film that is less than totally unblemished will count only as a minor false stroke on an otherwise impeccably realised canvas. Kantara , propelled by Rishab Shetty's blindingly good star turn and impressive directorial skills, is an insanely entertaining film. An absolute must watch.

Rishab Shetty, Kishore, Achyuth Kumar, Sapthami Gowda

Rishab Shetty

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'Kantara' movie review: Rishab Shetty delivers a compelling and rooted film

Conflicts between man and nature have always provided enough fodder for our filmmakers to dole out one film after the other. Rishab Shetty’s Kantara, though dealing with the same concept, strives to be original and wins at it by staying rooted and realistic.

Even in his previous films, Ricky and Sa.Hi.Pra Shaale, Rishab expressed his flair for telling stories of the coastal belt of Karnataka. With Kantara, he further goes deep into the woods to talk about safeguarding forests even while delivering a compelling revenge-action drama with a blend of crime and divinity.

Kantara is set in a fictional village of Dakshina Kannada, and begins in the 18th century when a king exchanges a piece of land with his people and moves on to find peace and happiness. Centuries later, the same land becomes a threat to the tribals of that area., but they believe their demigods, doubling up as their guardians, protect the village. The story shifts to the 90s, and we see the face-off between villagers who dwell in the forests, and the forest officer who wants to clear any encroachment in the area.

Shiva (Rishab Shetty) lives a carefree life with his friends, and is often at loggerheads with forest officer Murali (Kishore), who just wants to uphold the law of the land. We also have a politician Devendra Suttur (Achyuth Kumar), whose misdeeds become his identity. But there is a bigger evil at work, and Kantara is about Shiva’s struggle to bring justice to the people of the village.

The film ends with an outstanding climax, which is definitely the USP of Kantara. There are multiple viewpoints in Kantara, and it is all wonderfully brought together by Rishab, who has written and directed the film too.

Rishab is only getting better with each film, and the backing of Hombale Films has allowed the filmmaker to make the movie more realistic. Even though it runs on the familiar territory of human-nature conflict, the chapters of Bhoota kola and Kambala make it unique. Every frame of the film is beautiful. DOP Aravind Kashyap lights up Kantara in vivid shades, and with able support from art director Dharani Gange Putra, gives Kantara a rather natural look.

Kantara also explores some serious issues like caste discrimination. While there is no separate comedy track, there are enough quirks in some of the characters to add to the fun quotient. The film brings in crisp narration, and extra credit should be given to the well-orchestrated action sequences.

Composer Ajaneesh Loknath is marvellous in Kantara. While his folk melodies are soothing, the background score accentuates the narrative of Kantara.

Rishab, the actor, is outstanding as Shiva, and breathes life into this rather unconventional character. He has undergone a mass and intense transformation for the role, and the effects are evident. Rishab’s performance in the nail-biting climax will definitely make the audience cheer and applaud for him. Sapthami Gowda as forest guard Leela, who is also Shiva’s love interest, delivers a decent performance in Kantara. Kishore and Achyuth too give powerful performances, and it is a joy to watch the former’s intense ego clashes with Shiva. Manasi Sudhir, Pramod Shetty and Prakash Thuminad too are decent with their acts.

With Kantara, Rishab once again creates magic, both as a director and an actor, and delivers an entertainer with a strong social message, and an even stronger final act.

Director : Rishab Shetty

Cast : Rishab Shetty, Sapthami Gowda, Kishore, Achyuth Kumar

Ratings : 4 out of 5 stars

(This story originally appeared on Cinema Express )

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Kantara movie review: Rishab Shetty's mesmeric blend of action and mythology ranks among the best of Indian cinema

Kantara movie review: rishab shetty brings an original tale rooted in indian culture and mythology that surely ranks among the best efforts by an indian filmmaker in recent times..

By the time of the writing of this review, Kantara has earned endorsements from people far more accomplished in the world of cinema, with many more National Awards than this writer can ever hope to win. So I’ll admit I went into the theatre with a preconceived notion about the film, hoping for something good. But Kantara still blew me away. The beautiful amalgamation of action, thrill, faith, and mythology in this powerful film ranks among the best efforts by any Indian filmmaker in recent times. Also read: Kantara becomes highest-rated Indian film on IMDb, Dhanush calls it 'a must-watch'

A lot has been said about how Indian cinema is losing touch with its roots and not finding original stories from the heartland. This land, being so diverse and vast, is a treasure trove of stories. Kantara shows just what is possible when a good storyteller decides to tell an original tale rooted in the land and its culture, while bringing with himself the expertise and technical finesse of good filmmaking. At the heart of it, Kantara is the age-old story of man vs nature, of villagers vs zamindars, and the thirst for land and money. But it is so much more as it weaves elements from coastal Karnataka’s culture and mythology in the story so seamlessly and fluidly.

The story is set around a village in south Karnataka where a king had given that land to the villagers 150 years ago. In 1990, when the story is set, an upright forest officer (played by a brilliant Kishore) is trying to curb tree felling and hunting in that land, which is now a reserve forest. To complicate matters, the villagers believe that the land was given to them as a boon from their Daiva--the demigod protector of the forest, and are hence in no mood to listen to this outsider. Leading the charge against this is the village strongman Shiva (Rishab Shetty), and he is supported by the king’s descendant, the village’s sahib (Achyuth Kumar).

It is hard to pinpoint the one thing that makes Kantara tick. Let’s start with the script. It takes a story seen very often in our daily lives and introduces some unique local flavour, rooting it to Indian culture, making it stand out from among other such tales. Then comes the real cherry on top of this beautiful cake- the breathtakingly beautiful cinematography of Arvind Kashyap. The way Arvind’s lens has brought alive the folklore of Kantara is a lesson for storytellers. Some of the scenes of the buffalo racing in the beginning of the film deserve special praise, as do all the scenes from the festivities and visuals of the Daiva.

The background score and music from Ajaneesh Loknath complements the camera work totally. The choice to use western instruments in some scenes depicting Indian festivities was a bold one and it pays off quite well. The score brings out the myths, culture, and feel of the land where Kantara is set, taking you into the heart of the story so easily that you forget you are sitting in a movie theatre in another part of the country.

Rishab Shetty as Shiva delivers a powerful performance as this unstoppable force, who will go to any lengths to protect his village and his people. His beautifully-choreographed and slick action sequences would be at home even in the best of Hollywood films. Kishore is on the other spectrum as the calm, simmering forest officer Muralidhar, at loggerheads with Shiva. The actor brings so much intensity into his scenes that it’s a treat to watch.

This review would be incomplete without the mention of how colourfully and glamorously the film portrays the local festivities and rituals. The colours are vivid, the sounds melodic, and the portrayal powerful. All the scenes involving the Daiva are compelling, and some even hair-raising. That guttural scream from the Daiva gives you goosebumps on more than one occasion. Without spoiling anything, I can just say that the climax, while being a completely masala Indian film offering, elevates the film to another level.

Like Sohum Shah’s Tumbbad some four years ago, Kantara is proof that the earthy, rooted folk tales from India have the power to be turned into compelling cinema. Kantara, in fact, takes Tumbbad’s legacy even forward. Despite being appreciated by everyone who watched it. Tumbbad made only ₹ 13 crore at the box office. Kantara, meanwhile, is hurtling towards the 100-crore mark. It is an important film because it’s success will determine if other filmmakers across India will dare to tell original stories.

Director: Rishab Shetty

Cast: Rishab Shetty, Kishore, Achyuth Kumar, Sapthami Gowda, Pramod Shetty, and Manasi Sudhir.

Abhimanyu Mathur is an entertainment journalist with Hindustan Times. He writes about cinema, TV, and OTT, churning out interviews, reviews, and good old news stories. ...view detail

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Home » Review » Kantara review: Spotlight's firmly on Rishab Shetty in this glorious piece of story-telling »

Kantara review: Spotlight's firmly on Rishab Shetty in this glorious piece of story-telling

An intensely engaging story based on folklore from coastal Karnataka, Rishab Shetty's film is an absolute winner. 

• Prathibha Joy

Last Updated: 10.19 AM, Sep 30, 2022

Story: A village on the fringes of a reserve forest in Kundapura forms the backdrop of this tale. Believed to have been a gift from the king many centuries ago, this land becomes a bone of contention for the government, as it is encroachment in a reserve forest area, as well as for the local landlord, who wants to reclaim what he believes to be rightfully his. The conflicts that arise between the villagers, the forest department, and the landlord form the crux of this tale.

Review: If there’s one thing that Rishab Shetty has established today with his film Kantara, it is that you can create goosebump-inducing cinematic experiences without unrealistic heroism elevation shots. You can do it even if your hot-headed lungi-clad hero finds simple pleasures in drinking freshly brewed arrack after winning a Kambala race.

Kantara may seem like a mundane tale of land grabbing and the politics behind it, but on closer inspection there is so much more. It’s a coming-of-age, transformational journey for Rishab’s character Shiva, going from being the alcohol guzzling, weed smoking angry young man to truly embracing his roots. Honestly, it is difficult writing about this film without giving away plot points, so I will try my best to refrain from that. Kantara, I believe, is a film that has to be experienced visually and not by piecing it together from a review or two. And I say this as someone who has absolutely no understanding of the culture and traditions of Kundapura. Rishab’s film had me glued to my seat from start to finish even though I could not comprehend the significance of Bhoothakola or Daivaradhane, as practised in the region. A subject so alien, yet one that I grew increasingly intrigued about as I was watching Kantara.

Rishab Shetty is, undoubtedly, the star of Kantara. As Shiva, he puts on a riveting performance that was also physically challenging, but is made to look absolutely effortless. This is a role he’d written for himself, he’d told me earlier. What a good call that was for the filmmaker, who had not played the lead in his earlier directorial ventures. Come to think of it, it is next to impossible to imagine anyone but him in that role. But Rishab’s absolute masterstroke is in the ensemble cast he assembled, whether it is Kishore, Sapthami Gowda, Pramod Shetty, Prakash Tumminad, or Achyuth Kumar. Each one is brilliant in well-sketched characters written by Rishab. And even though I had to rely on the subtitles for portions of the Tulu dialogues (which, interestingly, also had Kannada subtitles), the gist was conveyed well.

Ajaneesh Loknath, you are a magician with music. I am no expert, but the tunes he’s put together as songs and background score are absolutely mesmerising and pleasant to the ear. Please release the full soundtrack of the film soon. And last, but definitely not the least, Aravind S Kashyap and his wizardry with the camera. Rishab can take credit for writing the world of Kantara, but showing it to us as a visual spectacle is Aravind and his lens.

Verdict: Rishab’s biggest victory, I believe, is that he’s been able to transport his audiences to this tiny hamlet and be involved in everything going on there. Taking a rooted tale and presenting it to a larger audience is a gamble; not everyone may take a shine to it. But if you at least manage to create an iota of interest in the subject among this audience, it’s a job well done. Kantara may not be perfect on all counts, but it will go down in history as a film that will be remembered for all the right reasons.

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Kantara Movie Review: Rishab Shetty offers a brilliant experience that should not be missed in theatres

Rishab shetty’s kantara is a tale about folklore, the importance of land and the beliefs of people. the film offers an immersive experience that warrants a theatre watch, says our review..

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• Kantara hit the theatres in Kannada on September 30.
• The film is written, directed and acted by Rishab Shetty.
• The dubbed version of Kantara will release across the globe on October 14.

Release Date: 30 Sep, 2022

When folk tales are represented on screen, rooted in realism, it ends up being an experience in itself. Kantara is one such film that sucks you in right from the get-go and makes you guess what‘s next. The traditional Daivaradhane and Bhoota Kola legacy (traditional dance forms) are brought to life in a two-and-a-half-hour-long film.

Kantara begins in the 18th century with a king giving a piece of land to the villagers in exchange for peace and joy. Cut to several decades later, the king’s descendant arrives at a Bhoota Kola (traditional dance in honour of the local deities) and threatens the tribals to return the land. However, he dies a tragic death.

20 years later, forest officer Murali (Kishore) wants to put an end to the superstitious rituals and save the forest from the villagers. Shiva (Rishab Shetty), a hot-headed henchman, stands up for the entire village. Meanwhile, Leela (Sapthami Gowda) is appointed as a forest guard, but she is torn between her work and her ideals. Will she take a stand? Is Murali the real villain? What does landlord Devendra Suttur (Achyuth Kumar) have in mind when he helps the villagers?

Apart from writing and directing the film, Rishab Shetty has also played the lead role in Kantara, and as an audience, it presents you with the opportunity to discover his talent as a screenplay writer, director and actor. Kantara starts off on a promising note and the way Rishab establishes the characters is what stands out in the crowd. Murali and Shiva are at loggerheads with each other and their rivalry keeps us hooked, expecting a massive showdown. And the film doesn’t disappoint. It keeps you guessing and leaves you wanting more of what’s unfolding on screen.

The story focuses on Shiva and Murali intentionally only to spring a surprise when we get to know the intentions of Devendra Suttur. This brilliant ploy worked so well even though it was predictable. The film was full of excellent performances from the cast of Kantara. Be it Rishab Shetty or Kishore or Sapthami Gowda or Achyuth Kumar, they have delivered exceptional performances. Not to forget the supporting actors, who provide comic relief and emotional undertones throughout the film.

The pre-climax and the climax act of Kantara, featuring a brilliant Rishab Shetty, are a collection of spine-chilling sequences that gives one goosebump. And a recurring scream, which is haunting, adds another layer to the rooted film. Our only grouse with the film is that it’s quite predictable. But, the success of Kantara lies in its milieu and world-building.

Kantara’s cinematography by Arvind S Kashyap is exceptional. The framing and the lighting add value to the period film. So does Ajaneesh Loknath’s explosive music. Another major asset of Kantara is its sound design.

Kantara is yet another gem of a film from Kannada cinema that will take one’s breath away in terms of storytelling and visuals.

3.5 out of 5 for Kantara. Published By: K Janani Published On: Oct 12, 2022 --- ENDS --- ALSO READ | Kannada film Kantara starring Rishab Shetty is making waves in theatres. Story, cast and all you need to know

• Cast & crew
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When greed paves the way for betrayal, scheming and murder, a young tribal reluctantly dons the traditions of his ancestors to seek justice. When greed paves the way for betrayal, scheming and murder, a young tribal reluctantly dons the traditions of his ancestors to seek justice. When greed paves the way for betrayal, scheming and murder, a young tribal reluctantly dons the traditions of his ancestors to seek justice.

• Rishab Shetty
• Shanil Guru
• Anirudh Mahesh
• Sham Prasad
• Kishore Kumar G.
• Achyuth Kumar
• 1.2K User reviews
• 20 Critic reviews
• 13 wins & 10 nominations

• Kaadubettu Shiva …

• Devendra Suttooru

• Garnall Abbu

• Watcher Raghu
• Rajeev Bhandari
• Guruva's Father
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• Production, box office & more at IMDbPro

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• Trivia The entire film was shot in 96 days with a budget of 16 crores INR and it made almost 188 crores within one month

Murali : It is said that the lamp burns its brightest before it dies.

• Soundtracks Le Le Le Lega [Vallav Re Nakwa] (Rebel Song) - Theatrical version (Hindi) Music by B. Ajaneesh Loknath Lyrics by Akshay Punse , Yogita Koli & Pravin Koli Vocals by Nakash Aziz & Nagaraj Panar Valthur

User reviews 1.2K

• Oct 1, 2022
• How long is Kantara? Powered by Alexa
• September 30, 2022 (India)
• कांतारा: ए लेजेंड
• Hombale Films
• See more company credits at IMDbPro
• $2,000,000 (estimated)

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• Runtime 2 hours 28 minutes
• Dolby Atmos
• Dolby Digital

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Kantara movie review: A vibrant and mythical tale with just the right drama

Kantara is an important story that is portrayed stunningly with the help of folklore, and art that is native to the Kundapura area. Rishab Shetty has performed stunningly in an affecting film.

Language: Kannada

Cast: Rishab Shetty, Kishore Kumar and Sapthami Gowda

Director: Rishab Shetty

Star rating: 3.5/5

Hombale Films, the production house that bankrolled KGF films is back with a dynamic film called Kantara . It is a rooted, it is vibrant and it is performed so stunningly, that there are moments that leave you in goose bumps. The most important characteristic of this film — despite its flaws — is how it chooses to encapsulate the fight of the tribal community for their land. This is an issue that persists in India today, but filmmaker and lead actor in the film — Rishab Shetty —  has set the story mainly in the 1990s. The film does span three timelines, going back to 1890. It all begins like a fairy tale, and speaks of Kings and their lives.

One such, who had everything, including the blessings of his people continually felt empty within, and he sets upon a soul searching journey that leads him to the village that the film is set in. His journey ends with him surrendering his weapon and himself to the local deity, who guards the tribal community. He attains the peace that he had been in search of all this while in the presence of this goddess and he seeks the community’s permission to take her back to the palace.

This moment is indicative of how the royal families in the 1890s appropriated the tribal gods, but left the people behind. They went on to oppress these people, continued to enslave them and forced them to stay illiterate purely out of hunger for more power and greed. Caste system was upheld strongly, and the hegemony continued to stay strong for decades still.

However, the community in the film has a guardian angel, and that is their deity. She seeks a promise from the King, in return for his favour, She orders for the surrounding land — forest and all — be bequeathed to the people of the community. She also warns the king that if any of his future generations were to back away from this promise, they would face and unfortunate end. This is where the film gets a brilliant mythical tone. This deity that everyone believes in strongly keeps the community for decades. The film flashes forward to 1970.

This time period reiterates how people in positions of power abuse it. It portrays one of the King’s descendants lusts after the many acres of land. The value of the land has grown manifold in the years since, and all this man can see is money. He takes part in a popular local procession of the community that celebrates their deity. He sees a performance of Bhoota Kola (an animist form of spirit worship that is native to the costal districts of Tulunadu and some parts of Malenadu in Karnataka and Kasargod in Kerala). One wrong move by this descendent leads to his death. Yet, it also leads to the disappearance of the performer. It is his son — Shiva (Rishab Shetty) who inherits the talent for Bhoota Kola. However, after having witnessed his father’s disappearance first hand, he decides not take up Bhoota Kola, and instead begins to work for the dead descendant’s son who goes by “Landlord” in the film.

Shiva is the one who must deal with greed for money and for power in the present. How he grows up from a naive thug on hire for the Landlord, to a responsible adult who stands with his people is well-etched out and entertaining. The region that the story is set in, the people that Rishab has penned about in the film — its all his home ground. He developed the story of Kantara during the pandemic lockdown when he was home, after hearing the story of a performer from his son. So Kantara is as rooted as it can get. Especially, the sequences featuring Bhoota Kola are so stunningly shot by Arvind Kashyap that it induces goosebumps multiple times.

The music of Kantara is also a star of the film that not only supports the narrative but elevates it as well. The inspiration from local folklore of Karnataka, the local artists that were spoken to, and the ones who were also featured in the film add authenticity to the endeavour of adapting a folklore. It is a simple tale about a community reclaiming the lands that were originally theirs, owed to them by a man who bartered with them. It would have come across as uninspired, if not for the introduction of Bhoota Kola, and the myths that surround spirit worshipping.

Above all of this, what really takes the prize is Rishab’s acting. This is something that the director-actor’s friends had hyped up before the release of the film. However, the hype is real. The last 40 minutes of the film is where Rishab has truly outdone himself, and every moment is gravitating. There is no way you could stray away from the screen, not even momentarily.

There is but one complaint that I have of this film and it is the way Shiva woos Leela. It is understandable that the film is set in 90s, but pinching the waist, or using certain situations to touch her left me cringing in my seat. Leela’s character is not really one-note, either. Her struggles are interesting, but she never get the time to unpack it on screen. This is one of the few characters that truly needed more attention, failing which the film has fallen prey to the syndrome of portraying a female character as nothing but an attractive lamppost.

Overall though, this is film that one must watch just to understand the dynamics of a life lived in interior parts of Karnataka. There is Kambala, and Bhoota Kola, and then there is the story itself that rings true which is captured with stunning visuals. All of this, makes for a film that is definitely worth your time!

Priyanka Sundar is a film journalist who covers films and series of different languages with special focus on identity and gender politics.

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‘Kantara’ review: Divine intervention elevates a regular action drama

Rishab shetty’s kannada-language movie has been dubbed and re-released in hindi..

Actor-director Rishab Shetty’s Kantara is the latest Southern production to send viewers into raptures or numbness, as the case may be. The Kannada-language movie was released on September 30 and has been re-released in cinemas in a Hindi dubbed version (as was the Telugu film Sita Ramam ).

A dizzying mesh of animistic beliefs, folk performance traditions, generational memory and concerns about land rights, Kantara (Mystical Forest) is best expressed not by its uninhibited rustic characters or colourful visuals but by a sonic element. If we were to put it into words, we would call it “wooooooaaaav”. This signature cry of the demigod Bhoota bookends the movie’s gripping opening portions and its visceral extended climax.

Shetty directs his own screenplay with unbridled panache, treating even routine scenes as milestones on an epic journey. The 150-minute film unfolds across three time zones. The first phase serves as an origin myth of how humans came to depend on forests.

A king enters into a pact with Bhoota, handing over his land to forest dwellers in exchange for Bhoota’s munificence. In later years, Bhoota is represented by a designated performer who dresses up as the demigod at festivities. A turn of events causes Bhoota to disappear into the forest in a blur of tinkling anklets.

The Bhoota performer’s heir Shiva (Rishab Shetty) has no desire to follow in his father’s footsteps. Instead, Shiva is content to win the local kambala (bullock riding) competition, swig locally brewed grog, smoke up, and hunt boar and fish.

The idyll is interrupted not by the king’s latest descendant, the seemingly benevolent landlord Devendra (Achyut Kumar). The new, and aggressive, forest department officer Muralidhar (Kishore) declares the villagers to be encroachers and attempts to seize the land in the name of the Indian state.

Devendra plays peacemaker as Shiva and his posse gird their loins to take on Muralidhar. Shiva’s sweetheart Leela (Sapthami Gowda), who works for Muralidhar, is squeezed between her community and her professional duties.

Leela is ultimately a stepney in the main ride: the realisation of who is actually behind the land grab. Even Muralidhar is a red herring for a feast that takes its own sweet time to be laid out.

While waiting for Shiva to embrace his inner Maoist, Shetty rolls out bawdy comedy, disposable melodramatic scenes of Shiva jousting with his crabby mother (Manasi Sudhir), and various shades of swagger. Some of these scenes are amusing in themselves, particularly the relationship between Shiva and his loyal cronies.

Kantara ’s themes have been explored in a more sober register by arthouse films and documentaries about the pre-modern belief systems that bind indigenous communities to their land. The Bhoota Kola performative tradition enlivens an often routine vengeance drama stacked with macho posturing and slow-motion action scenes.

Shiva is an iteration of the unreconstructed males valourised by popular cinema. Shiva’s courtship of Leela won’t fit the accepted definition of consent. (Does a female waist exist only to be rudely pinched?) At least Kantara is less coy than Pushpa: The Rise (2021), which kicked up a mighty fuss over a harmless kiss.

Literally broad-chested and consistently brawny, Shiva might have been a caricature if it weren’t Rishab Shetty’s deep investment in his character’s emotional arc. Shetty’s interest in the Yakshagana performing tradition pays rich dividends when Kantara finally brings together its disparate threads. Always on fire, Shetty’s Shiva is truly explosive in the film’s blazing stand-off.

The Bhoota’s hold over the villagers’ imagination of themselves kicks off the movie, and the Bhoota rescues Kantara from its wandering ways. Arvind S Kashyap’s lensing and colour scheme are most vivid when the spirit’s human manifestation dances into view, emitting the “wooooooaaaav” roar that lingers long after Kantara has ended.

Countless films have been rescued by the device of the deus ex machina . In Kantara too, the machine of the gods trundles into view at just the right moment. While the film’s politics about land rights is sketchy and weak, Shetty’s evocation of a sacred landscape where the rational seamlessly co-exists with the supernatural leads to a memorable battle between human perfidy and the forces of divinity.

• Kantara review
• Rishab Shetty

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Kantara Review: Lavishly Shot Folklore Story

Movie: Kantara Rating: 3/5 Banner: Hombale Films Cast: Rishab Shetty, Kishore, Achyuth Kumar, Sapthami Gowda and others Music: Ajaneesh Loknath Director of Photography: Arvind S. Kashyap Editor: K. M. Prakash, Pratheek Shetty Producer: Vijay Kiragandur Written and directed by: Rishab Shetty Release Date: Oct 15, 2022

After setting the box office on fire in Karnataka, the latest Kannada hit ‘Kantara’ got dubbed into Telugu and hit the screens today.

Let’s find out what the hype is all about.

Story: A king in the 1800s gave his forest land to the local tribe's people. In the 1970s, one of the king’s successors tried to claim the lands as his. When he moves to court to claim the land, he dies on the steps of the court.

In 1990, a forest officer Murali (Kishore) lays restrictions on the forest dwellers saying the government land cannot be touched. The local youth Shiva (Rishab Shetty) challenges Murali. 

Shiva is also a loyal henchman to the local feudal lord Devendra (Achyuth Kumar). Wrongly assuming that Murali tries to usurp their community from the forests, Shiva goes against him. Shiva’s father was a Kola ritual performer, in their forests and his cousin Guruva practices the same. 

When Guruva was killed brutally, Shiva gets to know reality. The rest of the drama is about vengeance. 

Artistes’ Performances: Kannada actor Rishab Shetty suits well to the character of a 90’s rustic youngster. His brilliant performance comes out in the penultimate sequences. His acting is simply superb in the last 25 minutes. 

Kishore as forest officer does excellently. Achyuth Kumar as the feudal lord gives a terrific performance. Sapthami Gowda as the female lead is okay. 

Technical Excellence: The film has technical brilliance. The cinematography is top-notch. Set in a deep forest, the filming of Kolam sequences and the buffalo race are mesmerizing.

Music director Ajaneesh’s background score and the cameraman’s brilliant shots have created a terrific mood. They steal the show. The film has a slow pace.

Highlights: Climax sequences Cinematography and background music Rishab’s final performance

Drawback: Middle portion Cliched jokes

Analysis To get a grip on the latest Kannada blockbuster “Kantara”, we also need to know the customs, folk culture, and the land of Dakshina Karnataka (Mangalore area). The western ghat region of Karnataka is home to deep forests and unique culture. Bhoota Kola is a ritual, where a man performs with all the colorful makeup and finally delivers a speech. People believe that the speech is God's word. This myth or legend exists in this region. Some families follow the customs.

The hero of “Kantara” belongs to the Bhoota Kola family. The film begins with a King’s story in 1847 and then cuts to 1970 when the hero’s father performs Kolam and mysteriously disappears into forests. In 1990, when the story is set, the hero is haunted by dreams. He sees god coming in Varaha roopam. It is his guilt as he hunts pigs in the forest. 

So, there is a hero, whose father was Bhoota Kola, and one who sees God in dreams. And the hero is working for a feudal lord, who acts as their protector. Then the main conflict is about the encroachment of the forests and lands. Director Rishab Shetty has added elements of myth, folklore, and local traditions to tell the story. We need to take all these into account to understand this film. 

Simply, the film is a regular masala film of a brother taking revenge on the feudal lord who kills his cousin. There are clichéd sequences. The love story between the hero and heroine is dull. It lacks any novelty. The villain is in plain sight. The villain’s (played by Achyuth Kumar of ‘KGF’) role is also quite clichéd. 

The comedy scenes and drinking sequences are quite boring as well. But despite these issues, many elements have made the film unique and immersive. 

Much of the film delves into the hero’s hunting habits, his romantic episodes, his camaraderie with local friends, and their village issues. But when the hero’s cousin gets killed, the film takes an entirely different route and it turns into a thrilling ride. The final 20 minutes of this film provide a riveting experience. Acting, taking, music, and sound design have synced well in this episode. Thus, ‘Kantara’ becomes a riveting film.

‘Kantara’ means deep forest. For Telugu audiences, the middle portions and some comedy sequences don’t work but the film’s strength lies in the climax episode and technical aspects.  On a whole this film takes the audience into a different world with its amazing background and sound effects. This is for those who want to experience an out of the box experience.  

Bottom line: A different experience

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Tags: Kantara Kantara Movie Review Kantara Review Kantara Rating Kantara Telugu Movie Rating Kantara Movie Rating

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Kantara (2022): Movie Review & Ending, Explained

Rishabh Shetty’s Kantara is one of the latest box office successes that is creating quite some brouhaha within the cinema-goer fraternity. With a whopping 9.6 rating on IMDb , the film turns out to be a bigger hit than KGF 2- Hombale Films’ last release. Normally, I do not wrangle myself in the politics of film ratings- I give my two cents to people who are willing to trust my judgment and walk away. But today was different- I not only spent 2.5 hours in the theater questioning the morals of the film critics and giants like IMDb but also felt sorry about legendary films like Tumbbad that went unnoticed.

Kantara Plot Summary & Movie Synopsis: 

The old folklore of the Punjarli from the coastal part of Karnataka forms the heart of Kantara. As per the myth, Punjarli (a word derived from boar) is the local demigod who looks after the tribals for their well-being and prosperity. He is also joined by his brother Guligu in the task. To honor the deity, the locals celebrate an annual event ‘Kola’ which is led by a priest. After the rituals, the demigod briefly possesses the priest to address the problems of the tribals and answer their questions.

This story originates in the 1800s when the King of the land left his house and family in search of peace, prosperity, and happiness. After a long quest, he eventually finds a small village in the heart of the forest with the idol of the demigod Punjarli. That’s where his search ends. Naturally, he wishes for God to follow him back to his kingdom so he could lead a happy life. But there is a catch- he can only make that happen in exchange for large acres of forest land to the tribals (to which he agrees).

Fast forward 100 years (the 1970s) from when the king gave his word, a descendent zamindar comes back to the village to claim the land that was given by his ancestors. The villagers protest against it and warn him of the wrath of the demigod that has been protecting them but to no avail. The dispute escalates till the Punjarli had to interfere and curse the zamindar to a painful death. Soon after the malediction, the demigod runs off to a forest and disappears, leaving his very young son right after him. 

The film then jumps to 1990. It centers around Shiva (the old demigod’s son), who has grown up to become a good-for-nothing yet the very loved son of the village. He hunts boars, eats them, and fights. Since the disappearance of the demigod, another villager (Guruva) has taken up the role to perform the rituals. It is expected of Shiva to take up the role but his disinterest and his reckless attitude get the better of him. Rather, he prefers spending most of his time hunting boars, eating them, drinking, and fighting.

At this point, we are also presented with the conflict- there is a new forest officer (Murali) who has been transferred to the area to prevent encroachment and preserve the forest. Since the villagers have little knowledge of the new laws, they are clearly agitated and Shiva takes this enmity up with the officer on behalf of the villagers. Additionally, there is also the zamindar (current descendent)- Rammpa, who is still looking to claim his land back. Subsequently, the narrative segues into a story about vengeance, anger (lots of it), unfunny series of jokes, and unexplainable reactions. The end, my friends, is as you all already know by now.

What Went Wrong With the Narrative

Character development of the protagonist.

Indian cinema has a history of romanticizing bratty male protagonists. It’s one character we love to hate and then eventually love. I can count ten on my fingertips now- Rocky from KGF, Vijay Deverakonda in Arjun Reddy, Shahid Kapoor in Kabir Singh, Aditya Kapoor in Ishaqzaade….you get the drift. But Shiva from Kantara couldn’t be them because he could never evoke that sense of empathy in his audience.

Shiva was always vagrant, rude, or bullish. We were never aware of his inner warmth. Even his love affair was very crude; it wasn’t soft or had any sense of longing that people in love usually feel for their beloved. Although the film greatly deals with the man v. nature subject, and the romantic subplot was just on the side, that doesn’t warrant such a hurried progression of romance that hardly feels coherent.

Unlike other conventional heroes – he wasn’t fighting for a real cause. He was just fighting for momentary issues that would arise every now and again. That trivialized his role. That is probably why I, as an audience, never saw him as the ‘hero’ that the filmmakers have touted him to be.

Suggestive Harassment Scenes Between the Lead Characters

Now I think this is thin ice that I am treading over, and I might get a lot of backlash about this. But it just feels about time that I should say it out loud. We need to stop showing borderline harassment scenes under the pretext of romance. A country-wide audience watches it, including impressionable young boys. Pulling a dupatta off a woman, grabbing her arm to pull her closer, pulling her hair back to kiss her neck….IS NOT COOL. Especially if the woman is unsure (or is shying away). More so, if the relationship is new most times, women can’t say no, and they generally ‘go with the flow’ only to pay for therapy later. It’s time we did away with this trope. 

No Motive for Secondary Characters

Some characters are just created to mislead the audience- like Murali (the Forest Officer). He has undue resentment. You will want to ask, what’s the cause of all this anger? There is none. There are hints of his enormous ego that might clash with his work, but that isn’t enough. To target a person and then go after him needs a better motive. The audience feels all the more cheated at the end when he abruptly decides to make up and becomes a good samaritan. How? I ask. And why? What is the trigger? Again, there is no answer.

Another deceptive character is the minister’s differently-abled son. I ask what the reason for creating a complicated character is. In one scene, the minister narrates his ill-doings to his son just because he can’t understand. But that could have been a monologue or a thought-to-self sequence. In short, there are a lot of unjustified distractions in the film that doesn’t serve any purpose in the narrative.

Uneven Pace & Weak Climax

The film starts at a breakneck pace- the first 15 min probably impart most of the information and set the stage correctly. Several jovial segments follow it like Shiva goofing around, Murali being a mean police officer, Shiva’s mother berating him, etc. Post-interval sequences are monotonous and tedious. At one point, you get sick of Shiva yelling and shouting and will question yourself when the climax comes.

At last, when the climax does come, it is weak and uninteresting. Shiva has to avenge the death of his cousin and fight for the safety of his land. A very long sequence of Shiva resurrecting to life in the form of a demigod becomes a mockery because of the emanating sounds from his mouth. And when it all does end, you certainly won’t feel the ‘wow’ factor. Also, lately, we have gotten into the habit of open-ended stories. I suggest we refrain from just falling into the trap just because it’s a trend.

What Worked for Kantara

Having said that, the film also wasn’t without its good and had its fine redeeming moments. Movies shot in southern India have a quintessential rustic yet beautiful vibe, and Kantara is no different. It’s shot against drop-dead gorgeous scenery and boats of a scintillating color palette. The jungle, waterfalls, and village speak to the camera like living beings.

The filmmakers have also done a fantastic job shooting the action sequences- they are so well-rehearsed and choreographed that they look poetic. Kudos to the team for shooting each fight scene differently. This one sequence is shot from the POV of Shiva when he is high on substance. That is especially brilliant. The color correction and post-production also deserve special mention for painting those vivid images on the screen that almost looked real.

Kantara Movie Ending, Explained: 

Not a lot remains to be explained after all that commenting. But I will just go ahead and summarize for anyone who wishes to read further. Shiva was unaware of his purpose in life unless he was made to realize it. He always saw nightmares of the boar, which was a form of the demigod, which in turn was his father. Maybe his father was trying to communicate to him through his dreams so he could realize his actual purpose and take his place as the righteous demigod for the village.

But after Shiva died, he was resurrected only so he could fulfill the cause of his being. The ring of fire where the demigod vanishes for the first time is always a recurring theme in the film, trying to remind Shiva of his actual duties. After he realizes it and leads the ‘Kola’ customs, he runs away to the same ring of fire to meet his predecessor. Since the demigods are supposed to serve the villagers and keep them safe, their purpose in life ends there. Another problem will lead to the birth of another demigod, and so on. 

Hence, when Shiva reaches the ring of fire, he comes face to face with Punjarli (the God), which could possibly be his father. And they both disappear because they have fulfilled their cause… until next time. The very last scene also shows Shiva’s son listening to the story. Maybe the riveting success of the film nudges the filmmakers for a sequel. 

Related Article: Jallikattu [2019] Review: How Masculinity Is Rendered Fragile With Its Volatility

Kantara (2022) Movie Links: Letterboxd Kantara (2022) Movie Cast: Rishab Shetty, Sapthami Gowda, Kishore Kumar G., Achyuth Kumar, Pramod Shetty

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What’s it about?

South Karnataka. 1990. Shiva (Rishab Shetty) hails from a family of Bhoota Kola performers, a folk art form distinct to the Tulu region in Karnataka. He lives with his mother in their village, which is situated in a deep forest. Their village landlord Devendra (Achyuth Kumar) treats Shiva as his confidante and encourages his activities.

Despite his mother’s objections, Shiva frequently hunts wild boars.

Forest officer Murali (Kishore) imposes restrictions on the villagers, ordering them not to hunt the animals, drawing a line between their lands and the government’s, and insulting their rituals. Murali wants to protect the forest from encroachments, but he antagonizes the villagers with his rude act.

Shiva treats Murali as a villain and challenges him. Shiva firmly believes that the forest belongs to their tribe. But who tries to steal their lands from these people? When Shiva knows the truth, what does he do? How does their family’s tradition of Kola’s performance become his weapon?

Films like ‘Kantara’ (the Telugu dubbed version of the Kannada film of the same name. Kantara means forest) cannot be easily termed as another revenge drama. The story has many layers, and the narrative marries the myth and masala movie elements quite well.

The film has three timelines – 1847, 1970, and 1990. It begins with a king’s story and how the forest lands were given to the tribal people. It tells that the king’s decedents have become greedy a century later. But the main story is set in 1990.

Is the forest belongs to tribal people or the original owners (feudal lords) or the government? The film raises this question with its encompassing narrative.

After setting drama brilliantly in the first act – the king’s story, the village issue, the buffalo races, etc, the story begins to go in the manner of Sukumar’s ‘Rangasthalam’. The setting, the villain, the hero’s relation with the villain, and the one twist in the story… all remind ‘Rangasthalm’. But it takes a dramatic turn after the end of the second act. The final act of the film is brilliant and mesmerizing. The final sequence takes the film completely to the next level.

The myth, the folklore, and the masala elements blend so well in this portion that it gives us an enriching experience. There is a tradition of Bhoota Kola in Karnataka, which is similar to Sigam in Bonalu Jathara. A person gives god’s speech. This element is mixed with the revenge theme so well.

The director presents the protagonist as a man who has a habit of hunting boars. But he frequently sees god in his dreams. Varaha Murthy comes into his dreams. He also sees Bhoota Kola roopam. These elements have blended well into the final sequence. The regular masala movie elements get a new touch with this mythic quality. No wonder, the film becomes an immersive experience.

Despite many issues of generic sequences and lousy sequences in the middle portion, the film becomes watchable because of its final sequence.

Rishab Shetty delivers a stunning performance in the final act. Among other actors, Achyuth Kumar as the villain and Kishore as the forest officer excel.

The cinematographer should be commended for his work. His cinematography is terrific. His capturing of the Bhoota Kola performance and the initial buffalo racing needs special mention. Ajaneesh’s background score is another attraction.

Bottom-line: ‘Kantara’ is a different masala drama. Despite some issues, the film gives a new experience with its stunning and riveting penultimate episode. The climax portion is terrific and makes a solid watch.

Rating: 3/5

By: Jalapathy Gudelli

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