‘Kaalapatthar’ movie review: An interesting take on the politics of statues

Vikky Varun in ‘Kaalapatthar’.
| Photo Credit: A2 Films/YouTube

In a touching scene in Kaalapatthar, an old lady complains about the lack of water in her place. She gives a reality check to the village chief, who is decked up for the Independence Day celebration, ignorant of the issues faced by the people of Moodalapalya. Shankar (Vikky Varun), a Border Security Force (BSF) jawan, watches the scene with a guilty face. He knows that the root cause of all the problems faced by his folks is his statue, which has become the talking point of the village. 

Political leaders get slammed for building statues and distracting people’s attention from important matters. Leaders get questioned if they wish to keep a particular group of people happy by spending lakhs on statues, even as they ignore the plight of underprevileged people.

Varun, who also has directed the film and co-written the screenplay with D Satya Prakash and Raghu Nandan, takes up this heavy subject and makes it palatable for viewers by setting the story against a rural backdrop and portraying the realities of such a milieu. Naturalistic performances and earthy dialogues enhances the film’s flavour.

In Kaalapatthar, the village chief, pressurised by the media, announces a statue of Shankara. At the same time, the MLA (Rajesh Nataranga) proudly says in a speech that he would have built a taller statue if people had discussed the plan with him. When desperate people turn to the statue seeking hope, even God turns envious as the temple priest recommends an alteration to the statue. Amid people in power plotting personal gains, the locals get denied basic facilities such as water, bus service, and proper roads.

A still from ‘Kaalapatthar’.
| Photo Credit:
A2 Films/YouTube

So why did the statue get erected in the first place? Shankara, who is assigned the duty of a cook at the BSF, cuts vegetables instead of firing bullets in a war. Back in his hometown, people presume him to be toiling hard on the battlefield, but Shankara gets confined to the kitchen. Everything changes when he showcases his brave side by singlehandedly fighting men from the enemy camp. Shankara becomes a nationwide sensation, so much so that his statue gets built.

Trouble begins when Shankara starts to experience the things that happen to the statue. For instance, when the statue gets soaked in rain, Shankara gets drenched as his roof leaks. When this freakish pattern repeats too often, he wonders if it is a mere coincidence, his illusion, or if there is something really fishy about it. 

The film takes a delightful turn when the protagonist turns grey. A selfish Shankara does everything to protect the statue because he believes his life depends on it. A soldier, perceived as fearless, is reduced to a tepid man by a lifeless statue built with black stones (Kaalapatthar in Hindi and hence the title).

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The film jumps from one conflict to another without a break, and you get the feeling that it ends without a bang. The transitions in the screenplay seem too quick, giving us less time to process the twists in the movie. Yet, the film’s story, as a whole, is rock solid. And the director in Varun is in control of executing the important scenes. Anoop Seelin deserves special credit as his stylish score with unique beats beautifully reflects the everydayness of a village.

We live in a time when powerful people build their own statues when they are alive. Kaalapatthar tries to say that even as they enjoy the attention and accolades, they must not forget their duties. Statues must be an expression of respect and not an excuse to exploit the innocent, says the film.

Kaalapatthar is currently running in theatres