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About The Movie KGF Chapter - 2
The second part of KGF [KGF Chapter - 2] resumes from where the first part ends. We now see the “pillars” of Karachi being forced to accept Rocky as their new boss. Of course, this leads to resentment across the board, and it is clear that betrayals will hit our protagonist left, right, and centre. But KGF isn’t about plot ingenuity; it’s about inventive filmmaking. Every time we think that a high point of a particular conflict has been reached, Prashanth Neel zooms out to show that it’s all just the tip of an iceberg.
This happens on more than one occasion and stands testament to some great writing. Where in another film the meeting of Adheera and Rocky might have been shown as the ideal climactic showdown, here, we get three brilliant sequences capturing the oscillation of power, and each of these scenes delivers grandeur and intensity that the film will forever be known for. There’s also the hyper-stylised violence that was such an important part of the first film. Sure, there is a lot to discuss where the film falls on the moral spectrum, but the arresting visual style keeps analysis at bay.
The big problem is the terribly underwritten female lead. Srinidhi Shetty’s Reena suffers from a severe case of Stockholm Syndrome, and it’s hard not to feel sympathetic for why she gets relegated to the background. Even smaller roles like Easwari Rao’s character get neatly rounded arcs. The film also runs the risk of feeling bloated, especially in the pre-interval portions, when layer after layer gets packed in.
There are one too many villains and crisscrossing storylines. In fact, I wasn’t sure if the final few minutes do justice to events that have taken place over two films and eight years. However, the towering performance of Yash, rooted in nonchalance, keeps us hooked. His emotional turns, more than the playful bits, are more effective, and his enraged eyes say way more than his trademark broken English does. The dialogues too add to the undercurrent of humour, but then, there are all these lines that could so easily be turned into motivational posters: “Greed is good… Greed is progress…”
Another writing highlight of KGF: Chapter 2 is how a buildup song also acts as a quick narration of the first part. It is ingenious and inventive. Discussing logic serves no purpose in such a film, but for what it’s worth, every actor stays true to Prashanth’s world. The technical team too steps up, conjuring mesmerising visuals to keep us invested in the world of KGF. Keeping the colour palette to a minimum, cinematographer Bhuvan Gowda gives us stunning visuals that capture the grandeur of the project without ever showboating. No aspect of the opulence feels wasted or excessive. Be it the vast expanses of the mines or the never-ending shots of vehicles including cars, planes, ships, bikes, helicopters… the imagery is glorious. Any showboating comes from the edit table of Ujwal Kulkarni.
Even here, in the over-the-top world of KGF, his work fits in just fine. Composer Ravi Basrur, art director Shivakumar, and stunt choreographers Anbariv are all in form as well. Every high moment of KGF: Chapter 2 is the collaborative work of these artists, and it is wonderful to see them all deliver.
The pan-Indian movie idea may feel like a gimmick in many films, but the KGF franchise is a true-blue example of this trend. The success of the first part has pushed the makers to dream bigger, and they have brought in names like Sanjay Dutt, Raveena Tandon, Rao Ramesh, and Prakash Raj for quality and wider reach. Sanjay Dutt is menacing as Adheera, the primary antagonist, and writer-director Prashanth treats him with respect. Adheera even gets moments that place him above Rocky Bhai, and the same holds good for Raveena’s Ramika Sen as well. Both actors ace their roles.
As for Prakash Raj, Replacing Anant Nag is no easy task, and it is much credit to the writing once again that neatly brings him into the mix. The actor’s baritone brings an interesting mix of humility and pride to the narration. However, despite all these names, the film never loses focus on what it is actually about: Yash and Rocky Bhai. The relentless attempts at elevating the star gives us a fascinating film that proves once again that the world will always cherish ‘mother sentiment’ films.
At an important juncture in KGF: Chapter 2, Rocky asks his detractors to avoid pointless conversations about their territories. He adds, “The world is my territory”. If the response to this film is any indication, KGF: Chapter 2 is proof of an outsider breaking down walls to become the most unlikely pan-Indian superstar... or as he would perhaps put it, its ‘ONLY Rocking Star’.