Hemanth M Rao's director highlights his skills as a technician but fails.

Two roads diverged in a Sandalwood film. Unfortunately, the manager could not take both. One of them promised to show his mastery of techniques and the other route to show his mastery of storytelling. He chose the old one. Much attention seems to have been paid to paving the road that has been taken. Kavaludaari is an excellent showcase of Hemanth Rao's know-how as a technician. As a storyteller, he does not succeed in having the necessary impact.



Skulls and human bones leave a construction site. A decades-old mystery captures the imagination of a young policeman, characters from the 1970s and a vintage treasure springing up. What you see is 35mm frames for 1970s scenes, natural faces and actors' expressions, astonishing attention to detail, scene-filled scenes filled with information, and neat presentation. But when the know-how takes precedence, the story takes an unnecessarily long path. The scenes and shots continue even after the end of the message that they must convey. The suspense and the surprises go off without embarrbadment. The wow factor is missing for the most part. Wherever it is present, the sting is removed by extending the presentation.

There is nothing wrong with any individual aspect of the film. The acting game is great. Rishi has an impact, Anant Nag is his best talent in a role written for him, Sampath Maitreya that he plays best in his life, Roshani in a less glamorous role still manages to make his presence felt and Achyuth gets a role with a roller coaster ride. Cinematography is a masterclbad lesson. The background music and the score are mesmerizing. The only person who could have done better is the publisher. He is submissive and obedient to the wishes of the director, which does not help to advance the cause of history.

The director has embarked on a bold path, the one less traveled to Sandalwood. Kavaludaari marks a new stage in the direction taken by young directors. It seems more green.