Kotee review: Dhananjaya aces the role of an honest middle-class man in this drama

Kotee review: What happens when a straightforward, honest, middle-class man tries to earn a living by sticking to his strict principles? Especially when he wants to make one crore rupees to fulfil his dreams of getting his sister married, starting a cab company and repairing his dilapidated home. Is this even a reality in today’s times? Daali Dhananjaya’s latest film, Kotee (one crore), explores this theme with the Kannada star starring as the titular character. (Also Read: Karthik Subbaraj’s Suriya film would show me in a new look: Dhananjaya)

Kotee story

Kotee makes a meagre income driving a truck as a packer and mover, and doubling up as a cab driver in the fictional Janata city. But the popsicle-loving man is happy doing an honest day’s work so he can take care of his mother Sujatha (Tara), sister Mahathi (Tanuja Venkatesh) and brother Nachchi (Prithvi Chamanur). Kotee doesn’t believe in the concept of ‘beg, borrow, steal’, or in doing anything illegal, but realises that taking a loan is ok as long as he is able to pay back honestly.

Now, all the illegal activity in Janata is run by Dinoo Saavkar (Ramesh Indira) and to start his cab company, Kotee decides to borrow ₹9 lakh from him to buy his first cab. As the cab gets stolen, Kotee’s problems only seem to mount. As for Dinoo, he has other plans for Kotee as he has an urgent requirement for a hitman for a job. And the money he would be paid would solve Kotee’s debt problems. What does Dinoo do to convince Kotee? Will Kotee break his firm principles?

Follows a soap opera template

Kotee is director Param's directorial debut on the big screen and the story he has written follows a soap opera template, which is unfortunate. While this may be perfect for television, on the silver screen, it doesn’t work. The first half of the film is relatively slow and it takes its time to establish the numerous characters, including Kotee’s family, Ramanna and Navami.

We are introduced to various sub-plots like someone who is a kleptomaniac, someone who develops a hearing disorder, and someone who steals constantly, but these add little value to the core story. The story hardly moves forward in the film's first half, and this tests your patience.

Again, in the second half, more sentiment and melodrama are thrown in. The ‘slap fest’ that takes off in the first half also continues in the second half. Given its run-time of nearly three hours, the film lags in places and is trying at times.

The performances

Dhananjaya essays Kotee with all his heart, and this is evident in his earnest performance on screen. One can’t find any flaw in the way he delivers his dialogues or how he underplays his physical movements. Ramesh Indira, as the baddie, delivers a punch in this film, elevating it as well. Tara is endearing, while Moksha Kushal’s (Navami) character could’ve been craftier.

In conclusion

Kotee should have focused more on the one-crore plot and been pacier and tightly edited. The meandering screenplay, which lacks energy, makes the audience's interest waver despite the good performances. Director Param may believe that the various subplots will finally tie in in the climax, but today’s audience expects a well-written script that keeps them engaged throughout. Those who love soap operas where the common man is the victor will definitely enjoy Kotee and root for him.