In the compelling world of cinema, come-backs are a rarity, but can sometimes form a stirring narrative. Such is the case for actor Kiran Abbavaram who returns with a bang in his latest film ‘KA’, aptly released during the festive season. After a string of unsuccessful ventures, Abbavaram’s resurgence with ‘KA’ sees him breaking away from the generic heroic cliches, presenting himself in a film that invests significantly more in storyline depth than in the heroics of its lead.
Set against the backdrop of Krishnagiri, a fictional sleepy village nestled amidst hills that quickly succumb to darkness by 3 pm, ‘KA’ unravels its story through retrospectives spanning several decades. Abbavaram portrays Abhinaya Vasudev, an affable and orphaned postman who treasures the villagers as his family. The plot thickens when several women mysteriously vanish from the village and, with sheer grit and determination, Vasudev becomes resolute in solving the mystery when someone close to him narrowly escapes abduction.
The debut directorial venture from Sujith and Sandeep employs a clever disguise for the film’s core narrative. Their innovative script does more than just entertain; it enthralls with a meticulous attention to detail. Vasudev’s character comes with a layered backstory that includes a traumatic childhood, where his habit of secretly reading others’ letters serves as a window into family bonds and human relationships for him.
Through Vasudev’s innocent eyes, viewers are given a pleasing introduction to Krishnagiri’s numerous peculiarities, simple joys, and its richly-woven character tapestry. Acting much like a local superhero for the rustic inhabitants, Vasudev’s job allows him to maintain his childhood habit of reading letters, landing him in plenty of hot water. The romantic subplot with the rustic beauty Satyabhama is simple, yet resonates effectively within the film’s broader narrative.
At first glance, ‘KA’ may appear to be a typical kidnapping drama, yet the storytelling modality offers a generous concoction of genres – crime, romance, comedy, and suspense all bundled into one rich package. It’s in this first half that Sujith and Sandeep lay the groundwork, navigating the myriad complexities of small-town life, protagonist philosophy, and tease the audience with the plot’s direction.
A notable storytelling device frequently shifts characters to introspective timelines, offering reflections on their decisions and the ramifications thereof. A jaw-dropping revelation before the intermission flips the film’s narrative, setting up an engrossing showdown. Still, post-intermission, the narrative drags its feet a little — hindered by a possibly excessive focus on world-building and minutiae that slow the pacing.
The dynamic directors often emphasize Vasudev’s orphan status, and while not always seamlessly executed, his transitions from a carefree postman to a detective and later, a resolute lover and justice seeker, are notable.
. Thankfully, the film refrains from providing him an easy way out, keeping the unveiling of the village mystery squarely on his shoulders, sans the assistance of modern-day forensic wizardry.
‘KA’ heavily leans on the cast’s performances, technical mastery, and musical excellence to maintain momentum through sluggish sequences. Just as audience patience wears thin, the film presents a gripping climax that revitalizes interest. A visually striking action sequence, with the village in chaos and Vasudev in pursuit of the antagonist via bullock cart, orchestrates a harmonious balance of thrill, emotion, and courage.
Surprisingly, the hallmark of ‘KA’ is not its action sequences, but a balanced discourse on destiny and karma, underscored by references to Shankaracharya’s ‘Bhaja Govindam’. Much like the captivating interval, the directors elicit a spontaneous audience applause through a skillfully-timed plot twist. Moreover, the dialogues examining the life-death cycle offer a cushion for the film’s shortcomings.
Kiran Abbavaram injects a nostalgic innocence reminiscent of his ‘Raja Vaaru Rani Gaaru’ days, poised without overblown dramatics. While Nayan Sarika’s role as Satyabhama could have been more pivotal, she continues to prove herself a formidable talent, previously showcased in ‘Aay’ and the web series ‘Bench Life’.
Veteran Achyuth Kumar’s role remains underutilized while Redin Kingsley’s placement within this traditional Telugu setting seems misplaced. Tanvi Ram, however, embraces her crucial role gracefully, and Saranya Pradeep, Annapurna, Bindu Chandramouli, and Ajay deliver compelling extended cameo performances.
Directors Sujith and Sandeep earn kudos for adding a refreshing dimension to period thrillers, captaining stellar performances from a predominantly youthful cast and crew. Cinematographers Viswas Daniel and Sateesh Reddy Masam breathe life into the rural scenery with innovative lighting and creative camera perspectives in a retro backdrop. The soundtrack scored by Sam C S complements the script’s lively energy.
Notwithstanding its imperfections, ‘KA’ stands out due to its ambitious narrative and technical prowess. It is a thriller that defies traditional storytelling norms, making for an engaging cinematic experience.
‘KA’ is now playing in theaters across the region, inviting audiences to experience its unique take on destiny and mystery.
