Dhananjaya is not very dedicated. This might be an allusion to the fact that people think of him as a bad boy next door who transforms into a mass hero or a macho star, but I have always seen something sweet and sincere in his eyes, which no director has ever been able to uncover. And now it’s time for all waiting to end Kotee directed by Param his first film, where not only Dhananjaya’s tenderness is revealed but also some fist fights are shown.
Kotee (Dhananjaya) has one principle in life never cheat, lie or shortchange anyone. He wants to make a crore rupees (kotee) and take his family out of lower middle class living conditions. The father died long ago (played by Duniya Vijay in a lovely cameo), leaving behind mother aayi (Tara doing what only she can do) with her snacks shop, brother Nachchi (Pruthvi Shamanur), perky sister Mahathi (Thanuja Venkatesh). He is an all rounder handyman carries loads, ferries things around, shifts houses never saying no to honest work.
What sets Kotee apart from other mass entertainers is the effort Param puts into writing and dialogues.
Here it shows rather than tells. Also ice candy loving Kotee’s honesty isn’t given any mass build up even once. You’re just shown incidents upon incidents supporting how he leads his life because according to him everybody should let others live their lives too.
Then how does such nicety-filled film get an antagonist? Yes there’s Dinoo Saavkar (a menacing Ramesh Indira), but Kotee pays him every day promptly! What would be the conflict about then?
Dinoo gets both enraged and smitten with admiration when Kotee accidentally displays his ability, so he tries everything possible within rules (and outside them) to drag Kotee into life of gang wars, suparis and crime. Will Kotee ever move forward by sticking to his stand or will he join rule benders club? And if he has to bend, who should be that person pushing him towards it?
Kotee is a film written with great love and respect for the viewers by the team. Each scene is connected either to previous or next one. This isn’t spoonfeeding movie. You need to participate in connecting dots and have fun doing it.
For a love story, there’s an odd pair chartered accountant with jack of all trades but what makes it beautiful is both come from genuine places where they respect each other for who they are. And no patriarchy/misogyny written into this by Param.
There are two parts where camera might have unnecessarily stayed longer if directed by someone else but not here. Bravo!
Dialogues are natural without punch dialogues at all. So refreshing! And Navami (Moksha Kushal), girl liked by Kotee mentions 24 carat gold such precious line she also has a backstory isn’t just arm candy!
What would someone who lives at the mercy of a villainous rich man do if that said man sent him on a wild goose hunt to nab him? Along with many other things, this is Kotee’s story.
I liked Vasuki Vaibhav’s music, but I loved Nobin Paul’s background score even more (remember 777 Charlie?). Arunbhrama is impressive behind the camera especially during the climax portions set in a theatre taken over by gangsters. Editor Pratheek Shetty paces the film well, sometimes allowing certain scenes to breathe and others to speed past at a furious pace. You feel it in your gut: what new horror will fall on Kotee next? The stunts by Dinesh Subbarayan, Vikram Mor, and Arjun Raaj only add to that effect; they land blunt, and you know they’ll hurt. When a director makes you care about his characters, that’s half the battle won. Costume designer Harini Ramakrishna’s work is understated (which fits), but extra marks for those zari-lined lungis that Ramesh Indira wears so well.
And yes Ramesh Indira proves Sapta Sagaradaache Ello was no fluke; he’s here to stay. God knows how many sleepless nights he’s going to cause with those smirks that hide more than they reveal. Emotions dance on his face. And finally this is also a film which understands: without a strong antagonist your protagonist pales.
The team clearly tried to make not just any movie but rather one where everything matters equally an all round cinematic experience as opposed to merely another commercially viable venture full of cliches. Therefore there are enough clap-worthy moments without making anyone cringe too hard; likewise there exists sufficient creative input alongside technical know how ensuring its successful reception among audiences far beyond this point in time. Personally speaking, I can’t wait for Param’s next film.
When such movies succeed, directors and actors will be tempted back into being filmmakers and performers.
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