The film hits an emotional chord upon its arrival as a period saga showcasing the changes within Tamil cinema over the decades and permissibly provides a refreshing mentor–protégé relationship fraught with ego, ambition, love, and betrayal. Directed by Selvamani Selvaraj and featuring a strong lead in the talented artists Dulquer Salmaan, Samuthirakani, Bhagyashree Borse, and Rana Daggubati, Kaantha brings unique energy and emotional weight from the very beginning. That said, while its early stages seem to set up some interesting character-driven drama, the second half inevitably shifts into gear as an overwhelmingly familiar thriller and it seems to suck some originality from the storyline.

STORYLINE

The story centers on Ayya (Samuthirakani), a famous director who 'discovers' and helps make famous and respectable TK Mahadevan (Dulquer Salmaan) from the time he was a 'superstar' theatre actor. As a contemporary superstar, TKM developed a big ego, especially after Ayya decides to create a film based on the incredible story told to him by his now deceased and hit playwright wife, Shaantha. With his own contacts, TKM tries hijacking the entire movie and even causes renames the film Kaantha. Kumari (Bhagyashree Borse) is Ayya's most recent protege, but soon falls for TKM, especially after TKM rapes her—despite being a married man—and that causes an unsettling emotional experience for her. Before the climax, a twist in the plot delivers an unexpected major shift and ball entertainment to a crime-investigating scheme with police officer Rana Daggubati.

POSITIVE POINTS

The strongest aspect of Kaantha is its performances. Dulquer is able to blend charm, ego, and vulnerability with ease, and Samuthirakani plays the role of Ayya as a figure of authority that is also very warm. In the second half, Rana Daggubati is strong, and Bhagyashree Borse will certainly be a gem for Tamil cinema. To some extent the screenplay is constructed very well in the first half with realistic dialogue, effective confrontations, and subtle depictions of mentor–mentee relationships. The technical team is also successful in developing an authentic 1950s–60s ambiance, with stunning black-and-white inserts and all of the detail the painstaking detail is incredible. Selvaraj keeps our attention in the dramatic moments while displaying a firm control of the emotional tone in the direction. 

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NEGATIVE POINTS

The second half of the story cannot appreciate the first half. It can be mechanical and predictable in the creation of the investigation tropes. The tonal shift from an emotional drama to a thriller cannot sustain the synergy built in the first half. Some aspects of overload are introspective drama. The soundtrack is also not impactful. 

Overall: Kaantha is an engaging drama that provides a terrific if immersive experience during the first half of the film but does not sustain it in the second half. However, the performances and emotional backbone of the story make up for its shortcomings.