The Indian film industry, popularly known as Bollywood and also the Telgu and Tamil film sectors, has been dominated in recent years by massively successful action films like “KGF” and “Pushpa.” Fans have their favorites—some swear by the intense action and gritty style of KGF while others are enchanted by the charisma of Pushpa. Amidst this backdrop emerges “Kingdom,” an action thriller featuring Vijay Deverakonda and Satya Dev. With high expectations, especially given Vijay’s reputation as a phenomenal actor whose screen presence can overshadow many contemporaries, “Kingdom” was anticipated to be a major cinematic event.
The movie faces a rocky terrain right from the start. The film, originally titled “Kingdom,” was released in Hindi under the name “Saamrajya.” According to Deeksha, this was a critical mistake by the producers. Changing the title to something like “Saamrajya” to presumably attract Hindi-speaking audiences did not pay off; in fact, it reduced the film’s collection by approximately 50 percent. This decision reflects a lack of confidence in the Hindi audience’s acceptance of the original title, which is quite unfair to the viewers who are far from unsophisticated and could have appreciated the film under its original and impactful title.
Moving beyond the title confusion, the film itself is a complex concoction blending action, thriller, familial drama, and a mythological twist. At its core lies the story of two lost brothers who find themselves pitted against each other, a storyline that could promise intense emotional and dramatic payoffs. The narrative begins on a straightforward premise—a secret police officer, more like a spy agent, is sent to Sri Lanka to dismantle a formidable crime gang rooted deeply.
The principle of the story, as Deeksha frames it, is simple but thought-provoking. To eradicate evil, sometimes one must adopt the guise of evil. Consequently, the hero of the film takes on actions that blur the line between good and bad, gradually transforming him into a villain in the eyes of society. The plot thickens with the shocking revelation that the antagonist is none other than the protagonist’s own brother, elevating the tension and emotional stakes.
Just when the story gains momentum with this familiar but potent trope, it veers into the realm of the supernatural—introducing a reincarnated ancient king who returns generations later to seek justice for his people. This reincarnation plot is reminiscent of the way the lead character in “KGF,” Rocky, fought against the tyrannical Garuda. The insertion of the historical and mythological dimension aims to lend the film more depth and grandeur, suggesting an epic scope that transcends generations.
Despite the potential, the film’s execution leaves much to be desired. “Kingdom” is plagued by sluggish pacing. The movie spans approximately two hours and twenty minutes, yet it moves at a snail’s pace, especially concerning the first two hours. This slow progression leads to boredom where viewers might quite literally fall asleep, missing parts of the narrative without losing crucial plot points.
Additionally, the action sequences, which are supposed to be the film’s highlight, fail to deliver any significant impact. The violence and revenge themes do not evoke emotions among the audience. Visceral scenes—people dying, buildings burning, and intense confrontations—appear diluted, lacking the emotional weight and excitement expected in such a genre. As a result, these action scenes feel hollow and insignificant, failing to engage the viewer fully.
However, not everything in the film is disappointing. Vijay Deverakonda’s performance stands out as one of the few redeeming factors. His intensity and screen presence bring credibility and some excitement to the otherwise lackluster film. Unfortunately, several other supporting actors, despite their talent, are undermined by underdeveloped roles and minimal screen time. For instance, the talented Satya Dev’s role is too brief, a major waste of potential that could have added layers and complexity to the story.
The film also tries, unsuccessfully, to create a unique world reminiscent of hits like “Salaar” and “KGF,” but it lacks the detailed world-building, sharp dialogues, and deep narrative that made those movies memorable. The dialogues are often weak, and significant details that could have enriched the film are skipped, leaving the storyline thin and unconvincing.
The climax of “Kingdom” is a mixed bag. It attempts to elevate the narrative to a higher level by teasing a sequel (“Part Two”). Much of what the audience hopes to see—intense conflicts, plot development, and resolution—seems reserved for this anticipated second part. This strategy raises a fundamental question: Why was the first part made if the bulk of the story is deferred to the sequel? This leads to the critical impression that “Kingdom Part One” primarily serves as a cash grab, a mere teaser selling promises for a future payoff that may never fully materialize.
From a production standpoint, the music composed by Anirudh (Anirudh Ravichander) falls flat. Despite his reputation as a talented musician, the background score in “Kingdom” is disappointingly cold and uninspiring, detracting rather than adding to the cinematic experience. The poor music choice affects the emotional engagement of the audience, especially in key moments that demand heightened intensity.
Finally, the film’s Hindi dubbing, particularly Vijay Deverakonda’s voiceover in Hindi, feels misfitting and jarring. Such dubbing issues can significantly impair the viewing experience, adding to the overall impression of a poorly executed product.
While the film has its moments, it is not the triumphant comeback Vijay’s fans were hoping for. It is a cautiously forgettable film offering little value for the viewer’s money. For those interested in action films, she recommends watching classics such as “Mahavatar Narasimha,” which promise better engagement and satisfaction.