Kanguva 2024

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Director: Siva
Writer: Madhan Karky, Adi Narayana, Siva
Release Date: November 14, 2024
Language: Tamil, Hindi

Kanguva Movie Review: The opening sequence of the present-day Suriya is the trailer for the outdated writing of Kanguva. Yogi Babu hypes up Suriya’s Francis, a bounty hunter, as he jumps out of his shower and attacks a few enemies, and there goes our hero introduction. What follows is a template romance song in Goa and a breakup that’s announced just using TEXTS (a different approach to the “show, don’t tell” format?). We are introduced to so many characters within the first five minutes of Kanguva – including those played by prominent actors like Disha Patani, Redin Kingsley, Kovai Sarala, and KS Ravikumar – but disappointingly, we hardly see them for 15 minutes on screen.

The film oscillates between two different timelines: 1070 and 2024. In the present, Francis feels strangely drawn towards a young kid, a mere stranger. He goes to the lengths of risking his own life to save the kid. On the other hand, back in 1070, Suriya’s Kanguva, a mighty tribal prince and warrior, vows to save a kid. While the premise, connecting the two mysteries, is quite intriguing and you look forward to seeing how their bond is depicted, the execution tires you. Just like how too many characters are introduced in the present, you are transported to a different world in 1070, where five different villages with different ethics and ideologies co-exist. Two worlds are built and are overdosed with so many details that add little value to the story. But even if you want to try and understand the world – the five villages, their ethics, their past fights, etc – you are given limited time to grasp it all. Besides the reason that the makers have nestled in too much information, the way it is presented also contributes to the confusion. For instance, if texts are how the characters in the present day are introduced to you (eg: Francis, Bounty Hunter), you are welcomed to the past with a strange narration in Sentamizh, haphazardly explaining the five different villages. Also, the tonal shift as the film jumps from a party in GOA to an upcoming war in an age-old village is jarring.

One of the few interesting aspects of Kanguva is its innovative fight sequences – one involving snakes and scorpions and another of the women in 1070 attacking their enemies. Watching it in 3D also gives you the effect of being part of blood baths and sea waters splashing out of the screen. Props to the acting, you also get a few emotional sequences. But the grand visuals – Vetri Palanisamy captures the bright streets of Goa and the scenic visuals of the past world aesthetically – and impressive fights are all you get in Kanguva, as the story meanders a lot without a central focus.

For instance, after announcing a war, Suriya is temporarily exiled from his village for a few reasons. And immediately, we get a song where Suriya and the little kid are reconnecting. Now, as previously said, the bond between them is central to the whole film. However, their sequences are inserted randomly in the film’s runtime, mostly as montages, so you don’t get the chance to emotionally connect with them. There’s also too much happening around – a war, a foreign invasion, the return of a past feud, a simmering vengeance, all while you are just still trying to wrap your head around the lifestyle of the village people.

There are a few moments that impress us like the fight sequences, the metaphorical moon and birds, the reason behind Kanguva wanting to protect the child and more. There are also glimpses of how Francis could be the reincarnation of Kanguva – even with the sea of differences they share, there are hints that connect them. Like how Kanguva forgives and protects someone who tries to kill him, Francis, too, goes out of his way to save his ex-girlfriend, who minutes ago wanted him dead. Suriya also impresses as Kanguva – the difference he brings to his two characters in terms of body language is quite intriguing. And after a point, it becomes a one-man show, with Suriya solely carrying the entire film on his shoulders.

Interestingly, although there is an overdose of information, you can see how the makers have carefully crafted this past world, which has a personality and culture of its own. For instance, each village has its own dance traditions, punishment plans, etc. Likewise, Kanguva’s village has a ritual of not using weapons while praying before a big war. There is also a focus on the kind of weapons they use – like a double-edged sharp stick. However, all of these are shown in glimpses. Even the villain (Bobby Deol), who rules the enemy village has four sons – but we never get the time to know or understand them. Add to this the sequences set in the present timeline, which are filled with bland jokes and outdated writing – there is so much you wish the makers had avoided. And this is why you wish the film had focused only on one timeline, letting the frames and the characters breathe a little more. Its ambitions go unnoticed in its mess of convoluted and confused writing choices.