‘Kantara Chapter 1’ movie review: Rishab Shetty delivers a spectacle-heavy prequel high on entertainment value

In a small yet significant scene in Kantara Chapter 1, Berme (Rishab Shetty) tells his mother about the importance of business. It’s not just earning what they deserve, but also a sign of achievement for their marginalised group of people. Berme’s decision to revolt for the rights of his people forms the crux of the movie, and director Rishab mounts this idea on a gigantic scale. The prequel looks so huge that its first part, the technically potent Kantara (2022), now appears tiny. This upgrade in size works for and against the latest installment.

As suggested by the trailer, the mysterious forest Kantara is at the centre of the plot again. The Kadamba dynasty eyes the Eshwarana Hoothota (God’s Garden), a sacred region in the forest belonging to the tribals. If greed drew the landlord to attempt to grab the land of the villagers in the first part, it’s a matter of prestige for the royals in the prequel. Having been stopped by divine power, the king’s (Jayaram) ego is hurt, yet he lays low, waiting for the right moment to strike. When the prince, Kulasekhara (a superb Gulshan Devaiah), tries to encroach on Kantara, Berme stands as a barrier.

The tussle between the loose cannon Kulasekhara, a loose cannon, and Berme, a goofy yet eccentric and fearless man, is interesting. However, the decision to add humour to intense sequences backfires. The film struggles to breathe early on, with abrupt cuts affecting the film’s flow. The largely disjointed first half is due to Rishab’s urgency to quickly convey as many plot points as possible.

A couple of audacious action sequences (the one involving a chariot is jaw-dropping) are more showboating than value-add to the plot, but we don’t mind, as it helps the film gather some momentum. The uneven first act remains intriguing thanks to the film’s solid world-building. While depicting the indigenous people, Kantara Chapter 1 appears native in the best possible way. The costumes, make-up, and sets form a world that’s quite something to see on the big screen.

After setting up the plot, Rishab achieves his desired religious-themed mega production to near perfection with a go-for-broke filmmaking, aided by his gifted team. Cinematographer Arvind Kashyap offers an experience of watching a compelling war drama with his grand and creative shots. The underlying tension between the tribals and royals hits its zenith in the ‘Brahmakalasha’ song composed by Ajaneesh Loknath, who also delivers a rousing battle theme through the song ‘Rebel’.

Gulshan Devaiah in ‘Kantara Chapter 1’.
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Special Arrangement

Kantara Chapter 1 will be spoken about for its visual achievements. Rishab attempts to deliver ‘that one-scene-you-can’t-stop-talking-about’ in abundance. The superbly choreographed action sequences and the top-class CGI-laden scenes dazzle the viewers with a high dose of adrenaline.

The movie was supposed to trace the origin of daivas (holy spirits) and the spiritual beliefs of the people of Tulunadu. The makers seem to have tried their best to understand the folklore with research. As an actor, Rishab’s aura witnessed in the first part remains intact in the prequel. His portrayal of divine possession and ferocious power of a deity is brilliant. Rukmini Vasanth, in her first role that pushes her abilities since the Sapta Sagaradaache Ello films, stands out with strong dialogue delivery.

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The emotional undercurrent of the movie, about the tribal community fighting for inclusivity and going against those trying to dispose them off their land, slightly gets lost amidst the grandeur. Kantara had a stronger soul while the prequel is slightly empty on the inside despite many moving scenes.

At the end of it, these aspects can be forgiven and the drab passages are forgotten thanks to the makers’ sheer commitment to scale. Rishab pushes his creative decisions to deliver an extensive and spectacle-heavy sequel that is high on entertainment value.

Kantara Chapter 1 is currently running in theatres