The prequel delves into the origins of the folklore, with actor, writer, and director Rishab Shetty bringing the legend alive in a finely crafted period action drama. The real surprise, however, is young Rukmini Vasanth, who delivers a virtuoso performance.

Rating: (3. 5/ 5)

By Mayur Lookhar

Three years ago, Kannada actor-director Rishab Shetty swept the nation off its feet with Kantara, a never-seen-before period mythological drama. It was more than just a film; it vividly showcased the folk culture of Tulu Nadu, a cultural belt spanning parts of Karnataka and northern Kerala.

Actor, director, and writer Rishab Shetty has always taken pride in his roots. Just a few days ago in Mumbai, at a press event, he humbly declared that he wants to tell the story of his people, of his village and land, to the world. Money isn’t the motive – it is his love for his roots and his desire to share their story that has inspired Shetty to expand Kantara into a lasting legacy.

Story

This prequel explores the origins of the Kantara folklore, taking us back by a few centuries. The tyrant King Vijayendra (Hariprashanth M.G.) of Bangara seeks the divine powers of the mystical forests, wreaking havoc in Kantara, yet the divine remains beyond a tyrant’s reach. Years later, his son King Rajashekara (Jayaram) comes to terms with the fact that Kantara is a forbidden place. However, his hedonistic son, Kulashekara (Gulshan Devaiah), is determined to avenge his grandfather by laying siege to Kantara. The one major obstacle in his path is Berme (Rishab Shetty), the mighty tribal guardian.

Screenplay & Direction

Kantara (2022) was set in the 20th century, reflecting the milieu and traditions of that time, while subtly raising a voice for conservation.

Chapter 1 is set during the Banga Arasa Dynasty, so we expected the tribals to be primal in their ways. While Shetty and his co-writers Anirudh Mahesh and Shaneel Gautham respect the period and its traditions, his character Berme, a great ancestor of Kantara’s (2022) Shiva, and the fellow tribals are open to exploring the new milieu around them.

This was also a time when the Portuguese had followed the Arabs in trading with the regions of Bharat. Unlike Shiva from Kantara. Berme seeks to trade some valuable items from his forests for the weapons in the Bangara kingdom.  Chapter 1 isn’t about man versus nature conflict; it is solely about resisting monarchs, rival tribes who seek the powers of Kantara’s deities and full control over the mystical forests.

For all its glory, Kantara faced some criticism, with Anand Gandhi, producer of Tumbbad, calling out the Kannada film for promoting superstition. To each their own, but the faith of millions is resilient enough to absorb such views. In Chapter 1, faith remains, but Shetty places greater emphasis on the struggle against monarchs seeking control.

For all the hype, Chapter 1 has a somewhat dull first 30 minutes. The early narration of history feels subdued beneath the loud BGM. Seated in the last row, it was sometimes difficult to catch the Hindi subtitles for original Kannada dialogues retained in the Hindi-dubbed version. Berme’s opening action scenes play out like a desi nod to Jack Sparrow’s high-flying introductions. It isn’t until the first mystical event in the forest that the film truly engages the viewer. From that moment on, Chapter 1 fully immerses us in its mystical world of faith, folklore, gripping action, and captivating visual storytelling.

Performances

Acting, writing, and directing a film is an arduous task, one that many fail to do justice. For the second consecutive film, Rishab Shetty demonstrates his prowess as a creator. This level of vision isn’t possible without a man deeply loyal to his roots. It is this love for his homeland that drives Shetty, instilling a near-divine force into his performances and bringing this mystical world to life.

Berme’s journey into this world is steeped in mystery. He was a toddler found in a mystical cave, no one knows how he arrived there. Adopted by a noble tribal woman, Berme was initiated into tribal traditions and eventually rose to become the chief guardian of the tribe. Shetty bulked up slightly, sporting a thicker beard and looking every bit the warrior. The Panjurli and Guliga spirits return, but this time Berme also evokes a strong sense of Parashuram and Shiva.

 Kantara didn’t feel like mere acting; it was divine possession. In Chapter 1, Shetty not only repeats that intensity but adds new layers to his jaw-dropping mythological action. While the story stands on its own, Shetty remains mindful of caste undertones, aware of how the kingdom still views the tribals as lowborn. Here is a warrior who has won a key battle, achieved a parley, and at the moment of celebration, questions King Rajashekara about whether he may touch the silver idols. Much like Kantara, Shetty subtly reinforces inclusivity by having a few Abrahamic characters join his tribe in the battle against the monarchs.  Albeit a prequel, it’s fair to say that Berme, the protector, has passed the baton to future generations to guard Kantara.

Kulashekara, Gulshan Devaiah’s indulgent king, initially felt out of place and unworthy of being the antagonist. Shetty cleverly keeps a veil around the true source of opposition. When the critical hour arrives, Kulashekara’s indulgence doesn’t feel wasted. Devaiah’s remorseless performance, wreaking havoc on the tribals, underscores both his menace and his skill as an actor.

We are introduced to Rukmini Vasanth, and almost instantly, the young actor casts a spell over the screen. Blessed with a luminous presence and an innocence that feels almost too pure for this wicked royal family, Kanakavathi (Vasanth) emerges as a beacon of reason, a princess capable of averting a bloody war. Early on, one might wonder why she shows kindness toward Berme, a man her brother seeks to kill, whose tribe threatens their kingdom. Yet Vasanth’s effortless charm pulls us into Kanakavathi’s world, and even as events take unexpected (rather expected)  turns, her virtuoso performance leaves an indelible mark, lingering long after the screen fades to black.

Kanakavathi’s peaceful nature may stem from her father, Rajashekara’s, wisdom, a man who long ago understood that this was a battle beyond the realm of his kingdom. Usually jovial, Jayaram convincingly reflects the sorrow and restraint of Rajashekara.

Rishab Shetty’s Berme isn’t the only ancestor to resemble his Kantara (2022) counterpart. Comedian Prakash Thuminad plays Chenna, the ancestor of Raampa. Whether in the 18th or 20th century, lust seems an inherent trait in the family – though Shetty wisely tones it down in Chapter 1.

Music / Technical Aspects

Save for the Diljit Dosanjh Rebel track and the Brahmarakshasa song, Kantara: Chapter 1 has virtually no playback music across its 168-minute runtime. The plot is so invigorating and tightly paced that it scarcely merited more songs, allowing the narrative, action, and folklore to take center stage.

With the stakes higher in Chapter 1, Shetty has clearly upped the ante in visual storytelling, seamlessly blending special effects with Arvind S. Kashyap’s striking cinematography and Banglan’s impressive production design, creating a cinematic experience that is both grand and immersive.

Final Word

For such a fine film, we were intrigued by the relatively late buzz surrounding it. No press shows are usually a cause for concern, but Hombale Films wanted organic reactions rather than inflated 5-star ratings. This reviewer appreciated the natural environment of the screening – no paid fans, no needless whistling or noise in the auditorium. Rishab Shetty has undoubtedly scripted another glorious chapter in Kantara’s history, and there’s more to come. We roared “Whoa!” like the wild boar in Kantara, and Chapter 1 evokes the same thrill.

Watch the video review below.