NOTHING SHORT OF A VISUAL SPECTACLE ‘KGF’ IS FOR DIE-HARD ACTION FANS

Prashanth Neel’s KGF is an exemplary work in the cinematography department, literally overshadowing other aspects

Its a case of hero looked upto as a demi god. As simple as that. In the world of crime and smuggling amid the underbellies and dockyards of Bombay of 1970s, KGF attempts to give you the adrenaline rush. It divides the audience into two- one who’ll love this one tremendously while the other segment will simply rub it off. Which category do you fall in depends on the genre you are into. All in all, what you are left mesmerised at is the stupendous cinematography aided perfectly by rousing touch on the editing table.

Watch the trailer here:

PLOT

It is 1981. The PM of India deploys the army to nab the deadliest criminal of that time, who is later revealed to be Rocky (Yash). Tied by a promise his mother took on her deathbed, Rocky wishes to conquer the world, even if that means the forbidden and contagious world of crime. How his life in Bombay takes him to the infamously famous Kolar Gold Fields for the deadly game of life and to fulfill his ambition is what the story is.

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STORY/SCREENPLAY/GENERAL

The story penned by Prashanth himself is not novel, at all. Its a revenge saga packed in the demise of a Robinhood like fantasy where more impetus is given to making you feel that thumping in your heart.

The divine image created for the protagonist or rather The Hero is evidently pressed upon in almost every scene. With scenes going slo-mo to the background music raising its beats, and the dialogues nearly worshiping the man being talked about make the film straight out of a mythological saga. Here, while you know that your hero isn’t entirely a good hearted person (for whom he is fighting are equally cruel), a forced effort has been made to make you believe he is indeed the Messiah- again a reference to the Godly qualities.

The film is well divided into two halves. The first deals with Bombay and its raw nature. The second immediately takes you to KGF- Kolar Gold Fields. And mind you, this visualization will amaze you. In an almost deadly concentration camps set-up with monstrous guards laughing out like devils, the innocent souls are being tortured. It is here that they are called for mining with no way to escape. You are reminded of the similar situation in Baahubali where people get courage just by looking at him. But this is more like a supreme power and devotees in action.



KGF, hindi, review, film
Director Prashanth Neel (image source: indianexpress.com)

With 156 mins of run time, the film seems stretched in the second half and a good 25 mins could have been chopped off. The narrative structure keeps oscillating to 2018 where the story is being narrated by the author of a banned book to a senior journalist in her office to 1970s and even 1980s. Moreover, what is interesting is the non linear structure with cuts in swift successions alienating you, but give you the rush needed. Those who like their films to be this way, it’ll be a good cinematic experience.

PERFORMANCE

Yash in the lead role isn’t great. The character required him to give merely one expression- anger, which he does. There’s no other layer to him. Hence he doesn’t come across as an actor.

Similarly Srinidhi Shetty too is poor. Neither does she have a significant role nor is she contributing anything.

KGF, film, hindi, review
Producer Farhan Akhtar, Yash, Srinidhi Shetty at The KGF Trailer Launch (image source: silverscreen.in)

The supporting cast too has important characters but none of them make an impact as actors.

OTHER TECHNICALITIES

Music by Ravi Basrur and Tanishk Bagchi isn’t anything to even talk about. Only thing about music worth noticing is background score. Even jarring at times, it does make an impact accentuating the feel of the film to newer heights.

Excellent. Marvellous. Fantastic. Outstanding. Magnificent. Brilliant. Dazzling. These are not just synonyms but best describe Bhuvan Gowda’s cinematography. Deserves standing ovation. Its a visual treat in every manner. Even the technical features of camera have been utilised to great strengths giving you an awesome feel.

Shrikanth’s editing is edgy and sharp, so much so that the cuts give you a high. The racingly paced editing complementing the non-linear narrative is to be adored.

Production design is very good, especially the sets of gold fields. They are horrifying.

Its a film to be enjoyed. Expecting great cinematic meanings in the plot would mean asking for too much. What makes the film a magnum opus is first-rate and masterly executed cinematography with editing fitting perfectly. Its a good watch, undoubtedly. But only if you don’t mind gruesome violence.

P.S. This is just Part-1 and you are left wanting for more divinity to be showered upon you

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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