Plot
Set in the 1950s Madras, the film revolves around the legendary director Ayya, and his strained relationship with T. K. Mahadevan (Thiruchengode Kalidasa Mahadevan), a film star he helped establish and popularise. Mahadevan is a talented actor who has risen to stardom and has pride about his achievement. He often has ego clashes with Ayya. The film starts with "Modern Studios" owner Martin calling Ayya to his office to tell him that he can start his earlier shelved film 'Shaantha'. He also reveals that this was possible because of T.K.M agreeing to act in it. Financiers are ok to produce the film as T.K.M is now a part of it. 'Shaantha' is the maiden horror female-centric film based on Ayya's mother.
Initially, Ayya refuses to direct the film because T.K.M was the lead actor. However, he gives in after Martin convinces him to do it for the sake of the studios. T.K.M changes the film's name from 'Shaantha' to 'Kaantha' to suit his own image and cater to his audience to which Martin agrees. Ayya is not happy with it. He also egoistically tells Ayya to sit in a corner and watch as he directs the film with a changed climax to again suit his image. Initially, it was written that the hero dies in the climax. Ayya and Mahadevan constantly have arguments on set when Mahadevan tries to change the scenes from the script.
On the other side is Kumari, a Burmese refugee, who Ayya has cast as the heroine of the film (character of Ayya's mother). She also promises Ayya to act as he directs and asks. In the first scene of Kumari and Mahadevan, Kumari asks Ayya to instruct and direct her which hurts Mahadevan's ego. However, Mahadevan gives his performance and everyone on the set claps. Here a flashback reveal happens where Ayya scold Mahadevan about his acting skills the last time this film was on sets. Cut-to-present, Ayya sits in the director's chair with no reaction whereas Mahadevan decides 'Shot okay', which the director is supposed to. Kumari is angry with Mahadevan for this and for not respecting or considering Ayya's decision.
In the next scene being shot, where T.K.M's character is exposed of cheating on his wife, Kumari slaps Mahadevan where it is only written to cry holding T.K.M's hands. T.K.M is shocked but understands that it is Ayya who was behind this and asks for another take with a plan in the mind. Though initially happy, Ayya is shocked after Mahadevan asks for a retake. Mahadevan asks Kumari to slap him exactly the same way again. Guilty Kumari cannot slap him again the same way leading to multiple retakes. Finally, when she slaps him again Mahadevan improvises the scene asking the D.O.P Stanlee not to cut. Entire set is happy and impressed with his improvised performance and the whole scene. Kumari is now angry with Ayya for lying to her and making her slap T.K.M. Kumari enquires about why Ayya and Mahadevan don't talk to each other. Later, she apologizes to him and he offers to drop her at home as it is already late in the night. He further asks her if she will go to an event with him and then sings a song for her. Now, Kumari starts to change her perception about Mahadevan.
One day, a journalist comes to watch and write about Mahadevan and his performance. Journalist asks him if the director doesn't explain the scene (which being the norm) when Mahadevan tells the entire scene before Babu, Ayya's assistant, explains. Mahadevan arrogantly replies that the director does nothing but watch from a corner. Enraged Ayya starts to explain the scene indirectly also insulting him. Mahadevan gives the exact same performance. However, the journalist writes negatively about how Ayya treats T.K.M. Enraged fans of T.K.M injure Ayya in the leg. Ayya doesn't come to the shooting. Following this, even Kumari stops coming. T.K.M goes to Ayya's house to talk to Kumari and ask her to come to the set. Kumari says, she cannot come to the set against Ayya's wish and asks him to talk to Ayya and settle the issue if she has to come. Forcefully Mahadevan goes to talk to Ayya but Ayya doesn't speak back properly. Now, Mahadevan discloses that Ayya had falsely booked him when they had an argument last time the film was on set.
She starts to develop feelings for him, which Ayya doesn't like. Mahadevan also starts praising her for her performance and develops feelings for her. They also sleep together. Ayya, knowing all of this starts to insult and put him in danger. He makes the chandelier fall on him and also choke him hard with ropes in a scene. Also, a real gun with bullets is used in place of a dummy shooting gun which is fired onto Mahadevan. Following this, Mahadevan demands that if the film has to be completed, Ayya needs to leave. Kumari feels bad about this. Mahadevan assures her that they get married and asks her if she had revealed anything to Ayya about them. To which, she says she hasn't. Midnight that day, Kumari is shot dead in her room and Ayya is sitting next to her.
Inspector Devaraj alias Phoenix is appointed to investigate that matter and takes over the film set. Brings everybody involved in the shooting for questioning. He starts with Ayya who sits motionless next to Kumari's bed. He doesn't open his mouth in the beginning but demands to call Mahadevan for questioning when Phoenix burns the climax reel. He calls Mahadevan for investigation in the set though he was ordered not to. One by one everyone is questioned and a new detail is brought out.
He also brings Ayya and Mahadevan together for investigation. Mahadevan during his investigation reveals he also loved Kumari deeply and wanted to genuinely marry him. His wife overhears this as she is also present on the set. Though hurt, she still supports her husband. After twists and turns Devaraj comes to a conclusion but does not reveal and forces the situation to arrest T.K.M. However, Babu asks Phoenix to allow Mahadevan to shoot the climax portion so that people remember Kumari as an actress but not as a girl who was killed on a set. Phoenix agrees to this and removes the handcuffs from Mahadevan. Mahadevan acts in front of everyone very emotionally. Looking at this emotion, Phoenix does not arrest him when he is done with the shoot. He allows T.K.M to rest where even Ayya believed he didn't kill her. But, in a twist, T.K.M reveals that he killed Kumari much to the shock of Ayya. He also blames Ayya for it. He reveals that he had found a photo of theirs in Kumari's suitcase. He went and searched Ayya's room and found a recording tape. He listened to the tape and heard it to be a trap set by Kumari and Ayya for T.K.M.
After an emotional discussion, Ayya reveals that there is more to the tape and that Kumari is actually innocent. Mahadevan is heartbroken upon hearing this. Ayya writes a note and commits suicide by shotting with the gun. The case is shut but Devaraj warns Mahadevan to be aware as karma hits back. Mahadevan goes home and listens to the tape fully realizing how innocent Kumari was and how much she loved Mahadevan. Shattered he bashes his head onto the mirror. But wakes up and oversees to release the film as "Shaantha" as Ayya had wanted and making Kumari a talented actress.
Reception
Kaantha received mixed to positive reviews from critics.
Abhinav Subramanian of The Times of India gave 4/5 stars and wrote "Where Kaantha stumbles is in its transparency. Red herrings get tossed around, but once the pieces align, the trajectory feels obvious. There's also a curious lack of discretion in how the affair unfolds. [...] The film knows it's trafficking in archetypes and classical mechanics, and instead of trying to subvert them, it just plays them straight with enough craft to make the old moves land. Sometimes commitment beats cleverness." [28] Kaushik Rajaraman of DT Next gave 3.5/5 stars and wrote "Kaantha is the film that the Tamil industry badly wanted to sign off the year on a good note. For movie buffs, who have been closely following the actors in the 50s and even today, Kaantha strikes the right chord." [29] Anandu Suresh of The Indian Express gave 3/5 stars and wrote "The Selvamani Selvaraj directorial stands as a testament to the outstanding showmanship of Dulquer Salmaan, Samuthirakani, and Bhagyashri Borse, with Dulquer delivering one of the finest performances of his career." [30]
Avinash Ramachandran of Cinema Express gave 3/5 stars and wrote "Dulquer Salmaan's Kaantha is really held together by superlative performances and the superior production value of the film, which makes you forgive a fair share of flaws." [31] Goutham S of Pinkvilla gave 3/5 stars and wrote "Kaantha is an engaging watch when it remains a period drama. But once it transitions into an investigative thriller, it struggles to maintain the same impact and loses sight of key elements introduced in the first half." [32] Neeshita Nyayapati of Hindustan Times gave 3/5 stars and wrote "Kaantha, much like the film industry it is set in, has much to offer in terms of dizzying fame, passionate affairs and unchecked ego. However, the highs and lows of the film seem starkly in contrast, [...] It’s the performances that make the uneven tone of the film worthwhile." [33]
Anusha Sundar of OTT Play gave 2.5/5 stars and wrote "Kaantha is anchored well with some great performances poured in by Dulquer, Bhagyashri, and others, but the gaps in writing, are evident too. The imbalance lays the film bare of its shortcomings, standing tall between enjoying the indulgent path it takes." [34] Janani K of India Today gave 2.5/5 stars and wrote "Director Selvamani Selvaraj's 'Kaantha', starring Rana Daggubati, Dulquer Salmaan, Samuthirakani and Bhagyashri Borse, is a period drama thriller. Powerful performances and excellent making see the film soar, and then plummet when it becomes an investigation drama." [35] Sangeetha Devi Dundoo of The Hindu wrote "Kaantha is sincere and compelling in parts, which helps balance the portions that feel less fully realised." [36]
