Raju (Dulquer Salmaan) and Kannan are childhood friends who are willing to commit murder for one another. They are youthful, reckless, and uncontested rulers of the 1980s Kotha. In contrast to other gangsters, these guys and their gang do not use or deal drugs. However, as all good things must come to an end, their brotherly connection disintegrates after one of them betrays the others. It is also connected to the entrance of Raju’s girlfriend Tara (Aishwarya Lekshmi). Things become quite chaotic and bloody as the two companions turn on each other, and Kotha is changed forever.
The screenplay is dominated by an abundance of swag, carnage, and brutal action, making it a textbook gangster drama. Abhilash Joshiy and Abhilash N. Chandran ensure that their story is full of twists, turns, and relentless battles. All the action takes place in the fictional town of Kotha, which features a markedly retro setting (created by art director Manoj Arakkal) brought to life by the visually stunning cinematography of Nimish Ravi. A thumping background soundtrack composed by Jakes Bejoy is the icing on the cake. Clearly, optics and the immersive experience are more important than anything else.
The plot is somewhat predictable, but the fabric of friendship, love, and betrayal is intricately interwoven. The film’s sluggish pacing is its greatest flaw. It takes some time to establish its rhythm until Dulquer Salmaan makes his dramatic entrance. This intricate gangster thriller would have been much more entertaining with a tighter edit.
Dulquer Salmaan delivers a powerful performance in a character wholly distinct from his previous roles. The youthful actor exhibits the necessary intensity and depth in his portrayal of a force of nature. Shabeer Kallarakkal is equally formidable as a formidable antagonist. The narrative is propelled by the rapport between the two actors. Aishwarya Lekshmi, Gokul Suresh as the trustworthy Tony, Prasanna as the devious IPS officer Shahul Hassan, and Nyla Usha as the poisonous Manju provide competent support.
Overall, ‘King of Kotha’ suffers from the age-old problem of excess. Aside from becoming a gangster cult classic, it has mass appeal and the ability to hold its audience for a long period. It has no concept of when to quit.
