In director Sahadev Kelvadi’s latest film, “Kenda,” the story is subtly set into motion using a relatable and endearing scene. The protagonist, Keshava (played by B V Bharath), is shown playing cricket on a neighborhood street with a schoolboy. He advises the boy focused on his pitching to watch the ball rather than his hand. This unassuming cricket match unfolds to subtly highlight the very core of the film. The narrative is all about the transformative power of a simple game and how it contrasts starkly with the harsh realities of life. “Kenda,” in its heart and execution, is minimalistic and powerfully realistic, capturing life’s moments as naturally as they would occur outside a cinema screen.
From the filmmakers who brought us “Gantumoote,” “Kenda” is a nostalgic journey back to a simpler time. These were the days when playing street cricket wasn’t just a pastime but a passion that kindled dreams of someday representing the nation on a larger cricketing stage.
Although the film doesn’t specify its timeline explicitly, it drops enough hints for viewers to piece together the period during which the story unfolds. For instance, a TV broadcast shows Debasis Mohanty, the Indian fast bowler known for his distinctive open-chested bowling style, making waves in the late ’90s. Adding to this layer of nostalgia, a mobster in a seedy bar is seen idolizing a poster of Urmila Matondkar in her post-“Rangeela” prime. Through these and other carefully crafted nuances, it becomes clear that the film is set in the late 1990s to early 2000s.
Keshava is an ordinary man working in a factory, leading an uneventful life. His existence takes a sharp turn when he is sucked into a web of politics and crime, orchestrated by Narasimha Shastry (Vinod Ravindran). Shastry is a small-time newspaper owner with big political aspirations. His mantra is “making news,” which means staging protests and strikes, often employing young, impressionable men to do so. He manipulates crowds with false promises and frequently quotes from the Bhagavad Gita, especially its lessons on death, to give his hollow speeches an air of profundity.
In an exclusive insight, Sahadev Kelvadi speaks on turning director with “Kenda.
.” He hints at the depth and complexities he sought to capture on screen, aiming for a political satire that doesn’t just skim the surface but delves deep into the dynamics of crime and governance.
“Kenda” doesn’t just attempt to critique; it excels in showcasing how young men, desperate for financial stability, are easily drawn into a deceptive power play orchestrated by those wielding authority. From the initial enticement into hooliganism to the depiction of varying elements of this perilous world, “Kenda” meticulously explains how this nexus is constructed, using vulnerable youth in search of monetary gains.
A still from ‘Kenda’ depicts this grim reality vividly, presenting a visual narrative that captures the essence of the story.
The film also serves as a time capsule for the rise of electronic media. Viewers are taken back to an era when television journalists tackled significant issues like farmer protests, contrasting sharply with today’s relentless chase for high TRP ratings. At the same time, “Kenda” presents the seeds of this transition. In a noteworthy scene, a newsreader exclaims, “first on our channel” while showcasing exclusive footage, marking the beginning of sensationalism.
Despite its strengths, “Kenda” isn’t without its flaws. Towards the end, the film ventures into the realm of the absurd, which may leave viewers puzzled. It appears as if the director aims to heighten the dramatic tension but hesitates, resulting in a partially realized climax. This is particularly evident in the philosophical segments involving a sex worker, where the plot somewhat loses its focus amidst layers of complexity.
Nonetheless, “Kenda” remains a commendable effort, distinguishing itself from the usual fare of heroic tales laced with bloodshed. It shuns the broad strokes typical of such genres, instead offering a poignant narrative about an innocent soul led astray by the allure of power and money. Keshava, the protagonist, is relatable, appearing and behaving like any one of us, a testament to the film’s authentic and grounded writing—a rarity in Kannada cinema.
“Kenda” is set to hit the screens on July 26 and promises to be a compelling addition to the landscape of Kannada cinema, offering both entertainment and a stark reflection on the darker alleys of society.
Get ready for an impactful cinematic experience as “Kenda” unravels the intricate ties between crime and politics in a manner that is as eye-opening as it is engaging.
