The imaginary village of Kamarottu is the setting for Anup Bhandari’s Vikrant Rona, which he also wrote and directed (yes, that s also the name of the village in Bhandari s RangiTaranga ). It begins with a youngster who was travelling with her mother being kidnapped and killed. The focus then switches to a wedding between Panna (Neetha Ashok), the daughter of Vishwanath Ballal (Ravishankar Gowda) and Baby Ballal (Chitkala Biradar), and a man who works at Vishwanath’s mill. Because the man Panna is being married to is from a different caste, Janardhan Gambhira (Madhusudan Rao) isn’t too happy about them asking for his approval. Sanju (Nirup Bhandari), the son of Janardhan and Shantha Gambhira (V.Priya), then joins the scene. He appears to have fled Kamarottu when Janardhan exiled him for robbing jewels from the neighbourhood temple and is now making a long overdue comeback.
But on his first night back at his house, Sanju and Panna discover a police officer’s corpse. Everyone believes that a legendary demon known as Brahmarakshas is responsible. That basically serves as the cue for the entrance of the title character, who is portrayed by none other than Kiccha Sudeep. He is an inspector who is on the scene with his daughter, Geethanjali Rona (Samhitha), to look into his predecessor’s death as well as the kidnappings, murders, and/or deaths of several other children nearby. His jeep’s tyre blows out as he travels, and one of his bags—which allegedly contained his uniform—is purportedly taken. That begs the question of whether he has ever had a bag or if he is even a police officer. In any case, he begins to suspect everyone and anyone in his immediate vicinity, which strangely brings him closer to the horrifying reality of the Kamarottu events.
It’s challenging to keep up with Vikrant Rona’s narrative because it travels at such a fast pace and is so confused. You are about to read a first-viewing-only account.
The Several Red Herrings
Let’s not sugarcoat this. Islamophobia is an issue for Vikrant Rona. It makes fun of Fakruddin (Karthik Rao), one of the few decent Muslims in the film. That is also only one joke regarding the number of children in his family. You’re missing the joke if you don’t understand why it is humorous. The Hindu majority culture in India has historically stigmatised Muslims, blaming them for the country’s population growth. That is essentially what the film is emphasising. Naturally, there must be an evil Muslim character for every good Muslim one. There are several of them in this film, with Moosa (Dushyant Rai) serving as their leader. They’re there, but why? for the purpose of stereotyping Muslims before the hero publicly beats them up. And sure, the movie’s red herring is these evil Muslim individuals.
Vikrant discovers that the deflated tyre on his jeep was shot by someone, not a Brahmaraksha, while trying to solve the mystery surrounding it. He is attacked by Moosa’s soldiers at that point. According to Moosa, they move around dressed as ghosts to scare off law enforcement and citizens from the routes they use to smuggle things into and out of Kamarottu. He acknowledges that he killed no one, but he is guilty of smuggling. But, Vikrant eliminates his team and uses Moosa as bait for the true killer, possibly even killing him, because there is no other way for him to denigrate the only other Muslim character in the film. The other red herrings are the man who is supposed to marry Panna, Vikrant himself (who briefly appears in a Brahmarakshas outfit to comprehend the villain’s perspective), and, if I recall correctly, Eknath Gambhira (Ramesh Rai Kukkuvalli).
To be clear, neither Vikrant nor Eknath Gambhira’s affiliation with a particular religion is mentioned in the story. Vikrant is the man who is intended to marry Panna. Yet, Moosa and his men’s religious affiliations are made a huge deal out of in order to make fun of them. Here’s some advice for moviemakers: minorities in India are currently going through hell. Don’t include them at all if you can’t give them memorable characters. There are undoubtedly many minority artists who will be able to better represent their communities on the big or small screen than rubbish films like Vikrant Rona.
See More: Vikrant Rona Review: A Muddled Narrative That Rides High On Adrenaline
Geethanjali Rona Is A Figment Of Vikrant s Imagination.
You virtually always see Geethanjali/Guddi helping Vikrant throughout the movie. Her presence in the film raises suspicions right away since no one would bring a girl to a community where people are really being kidnapped and killed. Things become a little more questionable when the film begins to take on a slightly magical tone during a song number starring Vikrant and Guddi. The second part, though, is when you start to notice that nobody else, aside from Vikrant, is connecting with or acknowledging Guddi. She is evidently not there for the same purpose as before when Fakruddin leads Vikrant and Guddi to the haunted temple. For a police officer to carry his little daughter into a haunted temple that is home to the murderer or murderers terrorising Kamarottu, the risks are simply too great.
As Guddi and Vikrant climb the temple’s stairs and you observe the water’s interaction with her feet, Bhandari succeeds in keeping you on the edge of your seat. Nevertheless, as soon as they are inside, Guddi stays aside while Vikrant begins to search through a number of closets that contain the children’s clothing that the murderers had slaughtered. Despite Guddi’s repeated claims that she is afraid, Vikrant continues on. Finally, he discovers the wardrobe with Geethanjali’s name, along with the outfit and mask she was last seen wearing. Indeed, Renu Rona (Milana Nagaraj), the woman, and the youngster from the movie’s opening sequence are Vikrant’s wife and daughter, respectively. Geethanjali was murdered and then hanged. Renu saw that, and she fell into a coma. He’s actually there to exact revenge on his daughter’s killers as well as to look into the murders that are taking place in the community. But why was Guddi murdered? Continue reading.
Vikrant Rona Ending Explained: Sanju And Lawrence Pinto Are Raghava And Madhava, Respectively.
Nittoni (Yogish Shetty) used to reside outside of Kamarottu with his wife, mother, little daughter, and two boys, Raghava and Madhava, about 30 years ago. It was implied that they came from lower castes and lower social classes. Nittoni was persuaded by the school’s principal to enrol his sons in order for them to overcome the limitations imposed on them by their caste and class. Yet, upper caste and upper class kids regularly bullied Raghava and Madhava at school. In reality, there was widespread opposition to Raghava and Madhava attending school. Thus the villagers blamed Nittoni and his family for Sanju stealing the temple jewels. The elderly were severely assaulted, and their home was set on fire. Madhava and Raghava fled the area. With the use of a plier, the upper caste kids damaged Madhava’s teeth, causing Raghava to unintentionally push his sister into the well, killing her.
It was supposed that Raghava and Madhava were also deceased, along with the rest of Nittoni’s family. Not at all. Sanju and Lawrence Pinto (Vajradir Jain), who are residents of Kamarottu (Nirup Bhandari). Both of them have been kidnapping and murdering children, and Panna and Munna are their intended victims (Siddu Moolimani). Why are they kids? Due to the fact that they are the offspring of the villagers who helped hasten the deaths of Raghava and Madhava’s parents and sister. So the granny is still alive? Indeed, plus she reportedly has the ability to transport anywhere like a ghost. But why the kid of Vikrant Rona? Indeed, Vikrant formerly lived in Kamarottu, and on that fateful evening, he unwittingly gave the boisterous kids the pliers that they eventually used on Madhava. In the temple, where Raghava and Madhava are attempting to kill Panna and Munna, all of this is revealed. Evidently, Vikrant stops the grandfather and the brothers.
Undoubtedly, Madhava is deceased. I’m not too sure about the granny. The body of Raghava is never seen. Who knows, then? No, he won’t die with one stab. Vikrant was stabbed numerous times but yet managed to escape. That’s not the purpose, though. The idea is that Vikrant Rona fails to accurately portray casteism in addition to having problems with how he portrays the Muslim community. It is obvious that Raghava and Madhava are the victims of a casteist village’s crime. However, they are transformed into the most blatantly evil characters in the movie by converting them into actual monsters and having them murder kids. They are not given a redemption or a revenge storyline. Despite being on the bad guys’ side, Vikrant triumphs. He is hailed as a hero by Panna. And the conclusion shows that Vikrant made the right decision. So to clear up any confusion, no, he didn’t.
Anup Bhandari is the director of the 2022 Indian action thriller movie Vikrant Rona.