Director: Gunasekhar
Cast: Samantha Ruth Prabhu, Dev Mohan, Sachin Khedekar, Mohan Babu, Gauthami, Madhoo, Jisshu Sengupta, Prakash Raj, Allu Arha
Where: At theatres near you
Rating: 3/5 stars
Based on sage Kalidasa's historical play 'Abhignyana Shakuntalam', 'Shaakuntalam' starring Samantha Ruth Prabhu as Shakuntala and Dev Mohan as King Dushyant, is a modern, contemporary, Disney-sque retelling of one of the oldest chapters from the mythological epic 'Mahabharata'.
Shaakuntala (Samantha), an orphan is raised by Kanva Maharishi (Sachin Khedekar), when she is abandoned by her parents Vishvamitra and Menaka, following their unholy union. She is raised to be kind, virtuous and innocent, away from the harsh realities and cruelties of the world. One day King Dushyant (Mohan) arrives in the forest at her hermitage, following his hunting expedition and he is instantly smitten by her. As per the Gandharva Vivah system (marriage based on consensual acceptance of both man and woman), the king swears his loyalty and promises to return from war soon as he'd like to introduce his wife as his kingdom's queen. Her unending wait and an irrevocable curse is what will decide the fate of both Shakuntala and Dushyant.
Directed by National Film Award-winning director Gunasekhar, 'Shaakuntalam' pretty much sticks to the play, in terms of storytelling. To give credit where its due, a word of appreciation must be reserved for the set design and the exquisite costumes by Neeta Lulla. The world building in the film is really engaging, despite the VFX being pretty inconsistent. So, while the animals that appear are visually enticing, adding heft to the Disney-like narrative the film is aiming at, the same can't be said about how King Dushyant's kingdom is mounted. In a scene where Shakuntala and her associates are walking towards the king's court, the statues erected appear rather gigantic that the actors seem like ants, in comparison. But, what can be an immense cause of concern is the subtitling that's been done in Hindi (based on the language I watched the film in). The language used is as if the dubbing artist ate a Hindi textbook for breakfast. It can certainly turn off an audience if they aren't paying attention to every word. Just on the account of the dub, I'd like to revisit the film again in Tamil, at a later date.
Because it's the way the film has been dubbed in Hindi, that much of the performances by the ensemble cast appear theatrical and slightly over-the-top. Mohan as King Dushyant, can certainly swoon the ladies with his arresting good looks, but is sadly reduced to mere posturing. Veteran actor Mohan Babu as Durvasa Maharishi is intimidating but ocassionally comical. Madhoo as Menaka, while seemingly pleasant is also playacting her part. Same for Jisshu Sengupta as Lord Indra. It's only Khedekar as Kanva Maharishi and Allu Arjun's adorable daughter Arha as Prince Bharat who notably stand out.
The only reason why you stay completely invested in 'Shaakuntalam' despite its glaring shortcomings is how engaging Samantha is. Picture this, she is the same actor who played Raji in the second season of 'The Family Man', appeared in a cameo as a nautch girl satiring the male gaze in the popular song 'Oo Antava' from 'Pushpa: The Rise', played the unsuspecting Khatija in 'Kaathuvaakula Rendu Kaadhal' and packed a punch as the vengeful surrogate mother in 'Yashoda', all in a span of what has possibly been the two most draining years of her life, emotionally, physically and mentally. Yet, your eyes stay transfixed on her in every frame that she occupies. It's surprising how she redefines the idea of angelic beauty on-screen, even as she battles a painful ailment, off it. But, that's what her act spells. Sheer resolve, resilience and refusal to be slotted into a type. Look out for the scene in the king's court where Shakuntala stands her ground. It's like watching Samantha brave her way through the constant trials that she's been put through.
Watch 'Shaakuntalam' to empower her will to be able to front more stories in an industry that is yet to shift its gaze from the towering presence of its leading men.
