Tales of New Age Cinema – Chapter I

Official poster of Kendasampige

Kendasampige – A Case of two baby Parrots

Indian cinema is considered as one of the industries which includes multiple Film Industries across the country like different branches of a banyan tree. Even though the entire cinema industry considered as a home for many mainstream commercial movies over several years, parallel cinema as an alternative, is creating a new sensation in it’s own way. They are known for how they show the serious content in a realistic approach and naturalism. The specialty of these films that they reject the idea of dance and song numbers, unnecessary comedy and fights sequences. If the subject requires a fight scene, they show them as how it generally happens in society rather than protagonist hitting 100 fighters at once without getting a single hit from the other fighters!! Due to the Dark subjects and less entertainment facts, these films are not accepted in the mainstream cinema production, distribution and exhibition System.

In Bollywood, directors like Anurag Kashyap, Vikaramditya Motwane, Nagesh Kukunoor, were able to get this parallel cinema in the limelight as one of the mainstream cinemas in Indian Cinema. Few examples of the films are Dev-D (Dir: Anurag Kashyap 2009), Masan (Dir: Neeraj Ghaywan 2015), Titli (Dir: Kanu Behl, 2016) and Udaan (Dir: Vikramaditya Motwane, 2010). When we come to Sandalwood i.e., Kannada film Industry, neo-realistic directors like P. Sheshadri (Bharath Store,2012), Girish Kasarvalli (Gulabi Talkies– 2008), Girish Karnad (Ondanondu Kaladalli – 1978) were able to give the realistic touch to the movies in Kannada and also commercially successful in Karnataka. The main reason for the success of these movies that the subjects the filmmakers chose like Thithi (Dir: Raam Gowda, A comedy flick on how different generations react post a 100 old man’s death), Ulidavaru Kadndante (Dir: Rakshit Shetty: A Mystery revealing different versions of an incident)

Kendasampige is one of the films in Indian cinema which raised the eyebrows of film viewers across the globe. This film-noir movie is a love story between Gowri (Portrayed by Manvitha) and Ravi (Portrayed by Vicky) that unfolds in the midst of crime and corruption. Not just for its uniqueness in the title –Kendasampige – Ginimari Case – Part II, but also this is India’s first film series which released Part 2 movie first. Its prequel the– Kagebangara and sequel – Black Magic are set to release by mid-2017 ad early-2018 respectively. The story is written by Surendranath and directed by Dunia Suri. Original Score for this crisp 99 minutes’ flick was done by V. Harikrishna and Cinematography by Satya hedge.

The film begins with a short narrative of “Kagebangara – Part 1”, which tells the story of drugs, corruption and police system in 5 minutes before the viewer brought to the narrative love Drama. Even though this was a film has touched the dark subjects, Suri have handled it with sheer brilliance. His direction is also notch better than his other films like – Dunia, Jakie and Kaddipudi. Along with Rajesh Nataranga, he has focused on a fresh style of narration and screenplay without adding any unwanted scenes in the script and keeping viewer hooked to the film. The film showcases bond between police and rich people along with showing how corruption influence people at this 21st century and affecting youth.

The cinematography was done by another star of the film, Satya Hegde and this is the first in kannada to use drone camera as well. The locations of Karnataka like – Bangalore, Chitradurga, Davanagere, Hubli and Belagavi look natural and a visual treat in the silver screen. The background music by V. Harikrishna is unique and each song in the film adds more value to the storyline of the film which are penned by Jayanth Kaikini and Yograj Bhat.

With theatre actors like Prakash Belawadi, Rajesh Nataranga, the film also had strong star-cast with new comers Vicky and Manvitha, who look like innocent criminals in this flick with their natural acting, it looks like they have written the story keeping these personalities in mind. Prakash Belawadi brings his own charisma to the evil cop in the film and Chandrika portrayed a rich high society mother who can do anything to save her child. With his ACP role Rajesh Nataranga is the real hero of the flick who balance between the police system and troubled lovers.

This Crisp flick was able to impress Critics as newspapers like Times of India, The Hindu, Bangalore Mirror and DNA India rated this film 4/5. The audience applauded loudly for performances of each in the film. In IMDB, this was rated 8.6/10 and 8.8/10 in bookmyshow. The was considered to be a hit in the box office and screened for 100 days in 5 theatres in Karnataka.

Even though we have been seeing love-stories which is backed by rich-poor scenario in India, this flick unfolds the truth on how the system is causing trouble to personal lives of many people in the society. Arguably, Suri have proved once again that he is one of the unique film Director working in the country with this movie. The wholesome experience will give a long-lasting good feeling just like the flower Kendasampige. It is true that, it is very hard for the parallel cinemas to make a mark in the cinema and impress mass audience who would love to watch more movies with ‘’the entertainment value”, however, when there are experiments like this would definitely motivate ignition of new ideas as well as new comers in the Indian Cinema. With these new ideas converting as screenplays and cinema in this century, I hope to see more of these kind of movies in Indian Cinema which add value to each one’s life with a social message for all of us.


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