Pan-India Flavour Killed The ‘King’?

The much-anticipated release of Dulquer Salmaan’s “King of Kotha,” a period gangster drama heralded as the first true Pan-India film from the Malayalam industry, has brought to light an interesting outcome. Despite its ambitious goal of capturing a nationwide audience, the film seems to have fallen short in achieving its Pan-India aspirations.

“King of Kotha” faced significant challenges right from the outset, particularly in breaking the boundaries of conventional storytelling. The film’s routine gangster storyline, while featuring the notable presence of Dulquer Salmaan and a talented cast, lacked the innovation and fresh twists that are often demanded by Pan-India audiences.

One crucial aspect that the team might have overlooked was the film’s runtime. While Malayalam cinema is known for its leisurely-paced narratives, a film aimed at a Pan-India audience should ideally be optimized to resonate with a broader spectrum of viewers. In this case, “King of Kotha” extended to almost three hours, which could have tested the patience of audiences looking for more tightly edited storytelling.

On the technical front, the film does boast commendable achievements, including rich visuals and a captivating background score. However, these technical strengths alone weren’t enough to overcome the film’s drawbacks, notably its adherence to a conventional plotline that didn’t quite offer the unique twists and turns expected from a Pan-India venture.

While the ambition of creating a Pan-India film is commendable, it requires a deep understanding of the preferences and sensibilities of a diverse audience spread across different regions. Probably, the team should have stuck to making the film only for the Malayalam audience.