Shikari

A disappointing expedition

Kannada (U)
Cast: Mammotty, PoonamBajwa, Adithya, Sharat Lohitashva, Neenaasam Aswath, Achyutha, Sihi Kahi Chandru
Director: Abhay Simha

Has India really come out of the clutches of colonialism? No. Is the country as subservient today as it was during the British Raj? Yes, wistfully so, from yesteryear colonial serviles to modern cyber coolies, according to altar boy of art-house Kannada cinema — Abhay Simha. 

Simha, whose not too impressive first Gubbachigalu saw it wear the National Children’s Award plume, returns with aspirational Shikari. Simha strikes a parallel between colonial past with modern day BPOs and call centres to posit that we are still as much enslaved as then. 

It becomes clear in the course of Shikari, Simha adapts too abstruse and unsettling mise en scene to ram in his homily as Shikari flits between bygone pre-1945 era and present call centre rigours to tell the twin tales running concurrently.  

If flashbacks speak of gun-totting, Shelly quoting firebrand revolutionary Arun, sowing seeds of patriotism among Ram and Abdul. The flash-forwards spotlight on Abhijeet, software engineer, fed up with dog-tired demands of overseas BPO boss, seeking sanctuary in distant Manjanaguda, sniffing after scintillating story of Shikari. In between, sticking as irksome sourpuss are romantic rendezvous between Arun and Renuka and Abhijeet and Nandita. 

As a result, straddling on two stools, Shikari turns out neither a neat and nifty romantic routine to woo the regulars, nor deftly done offbeat oeuvre the discerning would voraciously devour. 

Despite schooled at FTII, and fed on critically acclaimed cinemas, Simha is yet to chisel his craft and metier as astute auteur. The film lumbers at lugubrious and soporific pace never having you involved making it distressingly difficult to flagellate the flagging interest. Simha, in Shikari comes across as one yet to get a steely grip with subtlety of sensitive film-making.

Despite inventiveness in plotline, he, woefully suffers in getting the screenplay right falling short in perfecting the grammar and idiom of cinematic craft failing to flesh out the finer aspects to nicety. 

Mammotty, in twin role speaking Malayalamised Kannada is hard to digest. If the stumbling film still holds from falling into banality it’s thanks to Poonam Bajwa essaying her role with deserving dexterity and dignity. 

Shikari, which takes off on a very off-putting note, turns out into disappointing hunting expedition with no sting or snarl in its tacky elusive tiger tale. Wishing Abhay comes into his own in next outing, one hopes Shikari finds appreciative audience.