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The tagline of Sumana Kittur’s Kallara Santhe screams that in the film, you will get politicians, their girlfriends, police and an assortment of such elements that make up the ‘system’ of our society. True to its word, all these elements do exist in the movie. But what the tagline doesn’t tell you is that we have already faced these so called ‘faces’ of the society in countless films before and they don’t have any face value for today’s viewer.
Seriously, we expected much more from this alleged political satire.
Maybe it’s the problem of heightened expectations from Agni Shridhar’s script that let us down in the end. For a man who has witnessed various dark aspects of our society from multiple interesting angles, we expected Shridhar to expose a few more dirty secrets in his film; but that was not to be in Kallara Santhe. Agni Shridhar’s script reveals nothing more than what we ordinary souls have already learnt by reading the newspaper and watching the television.
Kallara Santhe tells the dragging story of a young, idealistic man who finds it difficult to lead an honest life in a society filled with characters played by Rangayana Raghus’ and Shobhrajs’ (read corrupt politicians and rowdies).The film tries its best to depict a serious subject with a dash of humor which falls flat on its face. Kallara Santhe religiously follows stereotypical characterizations of politicians, goondas, and policemen and doesn’t tell you even an iota more than what you already know about these people. For a change, how about showing an intelligent politician who doesn’t act like a buffoon? Is that too much creativity to ask for?
Yash does a neat job in a role that neither evokes sympathy nor earns respect. Haripriya looks cute and her need for this realistic film is only limited to that. The girl can go places if someone gives her a better opportunity. Rangayana Raghu and his band of politicians are just what Sumana ordered and Sundarnath’s Suvarna’s cinematography stubbornly refuses to rise above the mediocrity that has engulfed this film.
Sudha belavadi has about three dialogues in the film; but this is one of the most different roles she has essayed on screen for a long time. The lady who has been content playing doting mother to heroes plays the role of a minister with a mischievous suggestion of flirt in her eyes, and it’s refreshing to watch.
On a whole, we expected a lot more from this film and in the end; we felt that our intelligence had been shortchanged in a film that was promoted as an intelligent spoof on our current system
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