Roopanthara movie review: 4 decent stories, but middling pay-off hampers this anthology

3/5

Roopanthara movie story: In a dystopian future, where basic necessities like air and water are luxuries that few can afford, a vagabond’s life depends on being able to tell a story that is interesting enough to save him. He tells not one, but four varied stories. Is that going to be enough, though?

Roopanthara movie review: Four stories with nameless characters - a rowdy (Raj B Shetty) whose late night encounter with a random person passing by has a tragic outcome; a beggar accused of kidnapping because the child she carries just cannot be hers, in the eyes of society; a poor elderly couple out to enjoy the sights and sounds of the ‘city’; a youngster who deals with his childhood trauma with a game that includes self-harm and to those around him – this is the premise of debutant director Mithilesh Edavalath’s Roopanthara, which he says is not an anthology because the characters cross paths.

Roopanthara trailer: Director Mithilesh Edavalath’s 5 hyper-linked stories are about hope in the humanity in people 

Technically, though, it’s a collection of 4 short stories that could exist independently, because they don’t have much of a bearing on each other. They also have varying impact, because Mithilesh doesn’t quite stick the landing with any. Take, for example, the best of the lot, featuring the elderly Somshekar Bolegaon and Hanumakka; the banter between them, as a couple that’s been together for the longest, being the most enjoyable. It’s rather cute how they set off to fulfil her wish of seeing the ‘city’, but how they handle a bit of devastating news they get diminishes the overall effect.

Next up is the story of a beggar, played by Lekha Naidu, who is suspected of having kidnapped a child, solely because the little one is several shades fairer than her. How could a low-life like her, have a child like that, wonder the high and mighty of society. The narrative plays out in a police station, where, yet again, the writing is stellar. Bharath GB as a newbie constable, absorbing the inner workings of a police station and Gireesh Jatti as his uncle and superior officer, are the stand-out performers in this segment. Lekha, unfortunately, remains severely under-utilized.

Roopanthara’s music captures what it is to be human and grow as one, says composer Midhun Mukundan 

Raj B Shetty as a muscle for hire – nothing new there. The been-there-done-that feeling is shaken off only towards the very end, when he’s caught in a conundrum of his own making. The fourth story – that of a young troubled man’s drug-fuelled attempts of dealing with his trauma with violence, either on his self or on those around him – was the least interesting of the lot. Now that’s as far as the stories go – it’s not bad, but it isn’t groundbreaking stuff either. These were supposed to be stories about the hope in the humanity of people, according to Mithilesh, but that doesn't really come across in any, but for the one with the beggar. 

What elevates the film is the execution and, of course, Midhun Mukundan’s score. Mithilesh, for instance, could have faltered right at the start in the creation of the futuristic world, whether it is the cybertruck inspiration and the LED rims, the weaponry or the communication device – within his limitations, the filmmaker has tried to steer clear of tacky and succeeds. It's a good start and armed with better stories, he'd be a director to look out for. 

Roopanthara movie verdict: Considering that the premise of Roopanthara rests on an old man’s story-telling skill to literally save his skin, the stories he tells had to be superlative, which they are not – they are basic at best and that is why the film takes flight, cruises along, but fails to soar.