His return is part of a personal mission. Vikrant Rona has roots in the hamlet and, therefore, has a stake in its well-being. The plainclothes cop-hero arrives in a village deep inside a forest where an inspector has been decapitated. One needs lasting power to sit - and sift - through the obdurate obscurities of the plot. The movie takes its time - it runs for nearly two and a half hours - to reveal the nature of the ghosts and the secrets of the past. It is only when the film has wended its serpentine way to a violent climax that Vikrant Rona lets it rip and turns into a man of unstoppable action forsworn to protecting Kumarattu from the malign designs of ghosts from the past. He knows his onions irrespective of the layers that he has to unpeel. The actor resorts to measured and stylized methods to play the titular policeman who excels in dodging projectiles no matter from which direction they come at him. His steady-as-a-rock performance is about the only aspect of Vikrant Rona that is consistent. The film runs ragged over a terrain that evokes wonder and fear but is difficult to decipher and digest.
The overall impact of the superficial gloss - it is considerable and does serve a purpose - is severely undermined by the overly convoluted storyline and the uncontrolled pacing. Since it is mumbo jumbo that holds sway all the way, it is never quite out of the woods. If only Vikrant Rona wasn't as disorienting and disjointed in terms of the way in which it juggles its multiple and confounding components, it might have been a palatable exercise in visceral excess. Its denizens are a bunch of confused people trapped in a screenplay that expends more energy on dazzling the audience with imagery than on giving the audience relatable material that it can grasp. The dense jungle makes for a visually striking setting. Vikrant Rona plays out in a sparsely populated place named Kumarattu, where barring one palatial bungalow occupied by a local landlord, every structure, including a police station, is crumbling and shrouded in mystery. The payoffs from all the scurrying around that the movie does in search of excitement are disappointingly limited. The twisted, overstretched tale blends social tensions, acts of revenge, haunted house scares, supernatural twists and police drama conventions to construct a universe in which secrets tumble out of every nook and cranny. The other ensures that it does not lack in starry poise and insouciance amid the unbridled chaos generated by the script's conflicting pulls and pressures. One gives V ikrant Rona, a Kannada period action-adventure fantasy with a Hindi version presented by Salman Khan and released nationwide, its sheen. One is represented by the movie's impressive technical attributes, the other by the star power and screen presence of lead actor Sudeep.īoth of them work just fine but never more than in a wholly superficial manner. Writer-director Anup Bhandari, helming his third feature film, puts all his eggs in two baskets in Vikrant Rona.
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