Kantara - A Legend
Here is the good news – I liked Kantara – The Legend more than the Kantara (2022). With the previous movie, for me, it was the first 15 and the last 15, the divinity, the raw and earthy mysticism and the myth-meets-man climax, that elevated a regular story of social oppression.
Kantara – The Legend steps back in time to tell us how it all began — the origin of Rishab Shetty’s Annappa (Shiva’s father) and crucially, the roots of the Daiva tradition that powered it’s soul. As ideas go, this is a fascinating one. To Rishab Shetty’s credit (and that of co-writers Anirudh Mahesh and Shaneel Gautam — yes, Ravi anna from Su from So), It goes beyond mystery and myth to dig into the soil — literally and unearth how that world came to be.
What works nicely is this movie quietly mirrors the evolution of a civilization. Beneath the surface of its mythology, the writing folds in the delicate balance of development. The premise of spice trading, that first brush with enterprise and elevation (well intentioned as it may be) that entices a self-sustained tribal community. The gradual realization of what they are being forced to give up - solitude, peace, sanctity and their identity is well depicted.
In today’s world, where every developing society teeters between progress and preservation, that reflection hits home. Much like how James Cameron’s Avatar did – the men and women falter in pursuit of “growth.” A relevant undercurrent — the struggle to retain originality and spirituality in an increasingly transactional world.
But here’s the rub — for all its sincerity, Rishab Shetty the writer and director mistakes length for depth. The world-building is impressive, yes, but the pacing needed a chainsaw. There is an excellent 2-hour movie hidden inside this 2-hour-50-minute epic.
The comic tracks — with Shettys' regular ensemble of JP Thumbinad, Mime Ramadas, Deepak Rai Panaje, Pramod Shetty is an irritant. Many sequences, including the oh so long jail sequence do not bring any joy.
The second half builds beautifully — visually stunning, musically powerful, and atmospherically rich. The pre-climactic sequences feverishly build up to an explosive crescendo. However, The ending feels more abrupt than transcendent, as if the Daiva decided to wrap things up early for the day.
Technically, the film is a marvel. Having recently watched the high budget wasteful exercise that was War 2, this movie really shows what can be done if you invest in the cinematic craft more than the stars. Cinematography, Costumes, Production design are gold standard. Dense jungles, “functional” palaces and harems, Sun-drenched trade ports rendered with painterly precision.
Ajaneesh Loknath's songs hit the right notes and his background score is terrific — evocative and haunting in equal measure. The sound design and mixing are stellar too, although the Cinema I watched in seemed intent on testing the Dolby Atmos setup as well as the limits of my hearing, during one scene where a horde of slender lorises (Kaadu Paapa) screech.
The action sequences are well staged, even if the escape and battle sequences stretch a bit longer than necessary. The Visual effects are excellent and blend seamlessly with the practical action. The visuals pull you right into that world, earthy and elemental. Without spoiling the detail, some crucial character appearances are spellbinding.
Even with the rough edges, Kantara – The Legend is an evolution. It is more textured, more mature, more daring in what it tries to say. The ambition is clearer, the themes more grounded. If Rishab Shetty were to truly dissect audience feedback, he would learn that no one came for the comedy or the template battle scenes. What people wanted — and what still lingers from Kantara — is the story behind the divinity of the Daivas, the man-versus-earth conflict that felt elemental.
The writing team deserves credit for not overusing the Daiva sequences from the first film. But they lean a bit too far into commercial territory. The humor, while intended as relief, barely lands even for native speakers and certainly will not register with audiences watching the dubbed versions.
Rishab Shetty, the actor is a fascinating presence. He retains that volatile, rooted energy from his performance as Shiva in Kantara. His body language (and significantly built now) is definitely up a notch. The man can charm, seduce, demonstrate pain, wrath and the resulting feral rage – take a bow! He has signed a few interesting roles now as a lead. something that i will track.
Rukmini Vasanth (SSE A and B) plays her part well — all grace, restraint, and poise as princess Kanakavathi. Hopefully she treads carefully to avoid being boxed into the “single expression/tone” performer — her last 30 minutes show glimpses of that.
Gulshan Devaiah as King Kulashekara, is the Miles Quaritch(Avatar 😉) of this world— Devious, unhinged, delightfully wicked. He is outstanding and makes you want to hate him. Sadly, he disappears for long stretches, leaving you craving more of his madness. Jayaram as Rajashekara (erstwhile king), one of my favourite actors — nails the physicality and emotion, only to be undone by the dubbing. It strips away the nuances, for this alone I wish they had cast a Kannada/ Tulu actor.
In the end, Kantara – The Legend is not just a prequel. As a vision in the climax says, it is a mirror, It looks back to look forward, and in doing so, finds something deeper.
If the film had simply committed to being a mythological-epic with spiritual overtones — tighter in length, it would have been heavier in impact. Still, none of my criticism takes away from the big-screen experience that Kantara – The Legend is. I am glad I did not miss the opportunity.
If Kantara was Divine chaos, The Legend is Divine order — and that is both its blessing and its curse.
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