The journey of a star is marked with peaks of success and troughs of failure. For Kiran Abbavaram, an actor with a string of misadventures, the path to reestablishment leads through his latest offering, ‘KA’. Released amidst the festive fervor, this film, intriguingly named, distinguishes itself by prioritizing a robust narrative over traditional heroic displays, presenting a stirring period thriller infused with emotion and a karmic undertone.
Set in the fictional, mist-laden village of Krishnagiri, where twilight descends intriguingly as early as 3 pm, ‘KA’ offers an atmospheric backdrop for the unfolding drama. The story unwinds through a clever use of flashbacks spanning several decades. At the heart of the narrative is Abhinaya Vasudev, played by Kiran Abbavaram, who embodies the quintessential happy-go-lucky persona of a village postman, orphaned yet buoyant, who regards the village residents as his extended kin. The tranquility of the village life is shattered when women begin disappearing under mysterious circumstances, prompting Vasudev to embark on a quest for the truth, especially when a beloved within his circle narrowly escapes abduction.
First-time directors Sujith and Sandeep brilliantly articulate the narrative, cloaking the core story in an innovative screenplay that captivates viewers from the start. While it is the storytelling that mesmerizes, it is their meticulous eye for detail that truly stands out. Vasudev’s profession as a postman is not merely a job but a linchpin for his character, steeped in a poignant backstory of a past marred by loneliness. He secretly engages with others’ letters, forging his connection to familial bonds that he lacked growing up.
Krishnagiri comes alive, as seen through Vasudev’s eyes, as a tapestry of intrigues, small joys, and vividly drawn characters. The protagonist’s involvement in the quixotic task of aiding villagers with their correspondences serves to scaffold his childhood habits, which simultaneously place him in jeopardy. There’s a touch of simplicity and effectiveness in his romantic subplot with Satyabhama, the village beauty.
Engagingly crafted, the film masquerades as a kidnapping drama that serves as a vehicle for unveiling the poignant histories of its diverse cast. The initial segments of ‘KA’ are a confluence of genres — crime, romance, humor, and suspense — painting a rich picture of life within the quaint village while simultaneously teasing intricate nuances of the storyline. A conspicuous element throughout is a narrative device that whisks characters into different timelines, imbuing them with the opportunity for introspection and understanding the cascading effects of their decisions.
A major revelation before the intermission is skilfully executed, injecting the film with an unexpected twist and setting the stage for a gripping confrontation.
. However, the subsequent pacing loses momentum, no thanks to an overabundance of worldbuilding and detail, compromising the film’s vivacity.
The recurrent emphasis on Vasudev’s orphan status is glaring and might feel heavy-handed at times. The protagonist’s fluid roles — as a postman, detective, jilted lover, and rebellious hero — tend to stretch believability. Fortunately, his journey towards solving the village’s mystery necessitates significant effort, steering clear of modern solutions like surveillance technology or forensic methods.
Grappling with periods of sluggishness, ‘KA’ is salvaged by compelling performances, technical finesse, and a stirring music score. Just as the film risks languishing, an exhilarating conclusion revitalizes the plot. An exceptionally lit action scene brimming with chaos, where Vasudev doggedly pursues the antagonist on a bullock cart, encapsulates the essence of excitement, emotion, and heroism.
Ironically, the most compelling part of ‘KA’ is not its action but its clever navigation of themes concerning destiny and karma, artfully interwoven with philosophical nods to Shankaracharya’s Bhaja Govindam. The directors, akin to the interval twist, manage to craft an appreciable crescendo of cinematic delight, bolstered by thought-provoking dialogues touching on the eternal cycle of life, birth, and death.
Kiran Abbavaram’s portrayal of Vasudev channels an innocence reminiscent of his early days in ‘Raja Vaaru Rani Gaaru’, eschewing grandiose antics. While Nayan Sarika, as Satyabhama, might have deserved more screen time, she impresses with her talent, proven in ‘Aay’ and the ‘Bench Life’ web series. Veteran Achyuth Kumar, unfortunately, finds his role as the conventional casteist Ranga Rao underutilized. Redin Kingsley’s comedic timing seems misplaced in this Telugu rural setting, though the supportive roles played by Tanvi Ram, Saranya Pradeep, Annapurna, Bindu Chandramouli, and Ajay in extended cameos do cement the narrative foundation.
Sujith and Sandeep must be commended for orchestrating a dynamic spin on the period thriller genre, extracting noteworthy performances from a cast predominantly fresh to the genre. With the rich visuals painted by cinematographers Viswas Daniel and Sateesh Reddy Masam, they breathe life into the rustic setting through creative lighting and angles that reflect a retro charm. Sam C S’s music score thrives on the movie’s dynamic script, enhancing its pace and excitement.
Although ‘KA’ is not devoid of flaws, its ambition in writing and technical polish far overshadows these shortcomings. It stands as a thriller with a refreshing difference, currently gracing theaters.
