Manada Kadalu Movie Review : Yograj Bhat recreates magic, but only partially

Think of an eternal love story in Kannada films in the past 2 decades and there is no film that comes close to Mungaru Male. The cult classic, directed by Yograj Bhat (also known as Bhatru), became a trendsetter in the Kannada Film industry. It is only natural to look forward to Manada Kadalu, as it reunites Bhat with producer Krishnappa for another coming-of-age story that launches fresh talent. But, the question remains: Can it recreate the magic? Further, can it resonate with today’s audience?
The film's narrative is centered around Sumukha (Sumukha), a medical student who drops out of college after witnessing a tragic event that changes his perspective towards his life . This incident sends him on a journey of self-discovery as he grapples with the harsh realities of life and the meaning of his own existence. It is during this journey that he meets Rashika (Rashika Shetty), a free-spirited young woman who is struggling to come to terms with her own life. As Sumukha and Rashika navigate their feelings for each other, they are joined by Anjali (Anjali Anish), an optimistic young woman who becomes the catalyst for a series of events that change their lives forever. The film explores themes of love, loss, and redemption, raising important questions about the meaning of life, the importance of human relationships, and the resilience of the human spirit.
With a love story as its core, the film also explores tribal culture, traditional medicine, and philosophical musings on life and death, a common thread in Bhat’s films. However, frequent tonal shifts make it more unpredictable than cohesive. While the writing conveys a sense of sincerity, it feels stuck in the past, offering very little that resonates with the present generation. The humour is of poor taste, with slangs woven into nearly every conversation, and in many scenes, the logic is absent. The Adivasis are misrepresented, and they ultimately become props for comedy. The film feels deeply familiar to Bhat’s earlier works, thus inviting comparisons. Another problem with Manada Kadalu is the director’s intention to convey too many things in a short span of time. The film has lessons on history. It speaks of the generation gap, relationships, and philosophy, making it too much to digest after a point.
Adding to this is Sumukha’s eccentric character, who is reminiscent of multiple similar roles from Yogaraj Bhat’s past films - like a young Ganesh or young Diganth, a carefree young man, who drops everything in a flash, and embarks on a journey to nowhere, and falls in love at first sight. His performance feels exaggerated. Rashika and Anjali resemble the strong-willed yet emotionally vulnerable women from Pancharangi and Gaalipata. Both Rashika and Anjali put up a decent performance. Takari (Rangayana Raghu) reminds us of Dracula from Gaalipata, and if not for Rangayana Raghu, it would have become unbearable to watch this character. Dattanna is calm and composed and brings in the much-needed relief from eccentricity. Music used to be one of the strengths of Bhat’s films, which also seems to be amiss here.
That said, Santosh Rai Pathaje’s cinematography is a visual treat. The locations, too, are noteworthy, capturing the beauty and tranquillity of the coastal town where the story is set. The film's visuals are breathtaking, with each frame carefully composed to create a sense of atmosphere and mood. The off-beat locations look stunning.
Manada Kadalu has its moments, and when compared to Bhat’s last two outings - Garadi and Karataka Damanaka, the film is quite engaging. But does it bring back vintage Bhatru who could deliver both critical and commercial success? The answer is a big no.

—Pramod Mohan Hegde