Rakshit Shetty, Rukmini Vasanth’s Sapta Sagaradaache Ello duology stands among finest in Kannada cinema despite its flaws

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Sapta Sagaradaache Ello is a significant work, especially since it is a rarely-seen romantic film franchise.

“Katte (donkey),” Priya calls Manu every now and then in Hemanth M Rao’s Sapta Sagaradaache Ello – Side A. It’s an affectionate nickname she uses for him. In a society that still clings to the traditional notion of Pati Parmeshwar, with even boyfriends often enforcing similar expectations on their girlfriends, or the latter conforming to the patriarchal norms, Priya’s choice of “Katte” adds a unique warmth that no other alternative word there would have conveyed. The charm is heightened as Manu visibly lights up each time she addresses him with that endearing name.

In the sequel, Sapta Sagaradaache Ello – Side B, however, the term is hardly ever mentioned, except for a few instances of flashbacks, essentially encapsulating the contrast between the two movies, or more specifically, the two entirely different junctures in their lives.

“Katte” is not the only rarity in Side B. The vibrant and compassionate sea blue hues that dominated the frames in the first part are seldom present in the sequel. Instead, they are replaced by red, black and grey colours, and the occasional hints of blue that emerge are subdued and faded, mirroring the lacklustre nature of their lives and the changed tonalities.

While Sapta Sagaradaache Ello is a significant work, especially since it is a rarely-seen romantic film franchise, what adds to its intrigue is the fact that both movies were released within a mere two-month span, capitalising on the excitement generated by the first part before it waned. Nevertheless, the two films vary in their essence and mood. While Side A is a romantic drama, Side B needs to be classified as a romantic thriller, once more diverging from the conventional nature of film franchises.

Watch Sapta Sagaradaache Ello – Side A trailer here:

Sapta Sagaradaache Ello truly stands out as a groundbreaking project that flawlessly navigates almost every aspect it aims to address, while also ensuring technical brilliance. Despite some evident flaws in Side B, the franchise serves as a response to past films that romanticised toxicity and disguised problematic male behaviour as “true love”. FYI, no, not everything is fair in war and love — especially in love, period.

While Side A predominantly revolves around Priya (Rukmini Vasanth) and Manu (Rakshit Shetty), focusing on their unwavering love, it delves into a seldom-explored aspect in romantic movies — the significance of togetherness and the acknowledgement that building a relationship requires efforts from both partners, not just the woman. Commonly, mainstream romances depict men as the sole decision-makers, troubleshooters and problem solvers, leaving women with minimal agency or influence over their lives. This dynamic often results in women bearing the consequences of men’s impulsive decisions, which are conveniently whitewashed as ‘selfless’.

Watch Sapta Sagaradaache Ello – Side B trailer here:

In Side A, Manu impulsively takes responsibility for a crime committed by his boss’ son without informing Priya, leaving her angered and devastated. Despite his motive behind this being amassing a huge amount at once to secure their dream home, the film refrains from unequivocally supporting Manu’s actions. Instead, it subtly conveys that he is facing the repercussions of his own misguided choices. Though Priya eventually stands by his side during the legal battle, the film avoids portraying this as a mandatory duty for a girlfriend. Rather, it cleverly presents her efforts as an attempt to extricate him from the consequences of his impulsive actions.

At the same time, the movie also doesn’t solely focus on Priya’s longing for her boyfriend; but portrays a range of emotions she experiences, including anger, exhaustion, confusion and uncertainty. In a significant moment, a visibly drained Priya turns away when an elderly woman, to whom she had previously offered her bus seat on a better day, expects a similar gesture. This shot challenges societal expectations, subtly questioning the notion that women should always be pleasant, even amid personal struggles.

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Rakshit Shetty and Rukmini Vasanth in Sapta Sagaradaache Ello – Side A. (Image: Rakshit Shetty/Facebook)

However, in Side B, we witness a Priya who has faced significant losses in her life, including Manu and a diminished passion for music. Now a mother to a son and the wife of a habitual drinker grappling with substantial business setbacks, this arc of her character appears somewhat unjust. While one could argue that life events shape one’s character, the Priya we know is not one to easily surrender; she’s a fighter. As Prakash (Gopalkrishna Deshpande) noted, she was “reluctant to leave Manu behind in the horrible prison”. Portraying her as a character who leaves her husband Deepak (JP Thuminad) to face financial crises alone and retreats into a bubble of sorrow seems unfair. Simultaneously, reducing her to a character solely defined by despair reflects a questionable artistic choice.

Manu, on the other hand, has undergone a profound transformation from the person he once was — filled with love, hope and compassion — after a substantial period in prison, leading a mundane life, immersed in the memories of his past, marked by regret for his decisions. This change has turned him into someone entirely different — obsessive, envious and violent.

The cassette tape featuring Priya’s voice, which was once a source of immense happiness and hope for Manu, is portrayed in Side B by talented writers Gundu Shetty and Hemanth M Rao as a haunting voice from his past. This voice continues to trouble Manu’s conscience for the choices he made previously.

Meanwhile, the seashore, once a symbol of the couple’s envisioned happy days, is now an obsession for Manu as he attempts to relive the past and fulfil the future he never received. However, these attempts are hardly successful. The one time he visits a beach, Manu stays away from the sea, observing Priya and her son Puneeth enjoying the waves from a bungalow with a smile. Another instance, depicted in a dream sequence, features a Priya clad in a blue churidar, reminiscent of Side A, asking Manu with much love not to meet her again, reflecting his perception of her potential reaction if they were to meet.

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In Side B, Manu has undergone a profound transformation from the person he once was after a substantial period in prison, leading a mundane life. (Image: Rakshit Shetty/Facebook)

He is depicted near the sea once again at the end, as he merges with it, travelling somewhere beyond the seven seas (Sapta Sagaradaache Ello), where he hopes that one day he will be awakened by the sound of Priya’s music. Even their silent expressions of reassurance, conveyed through intertwined fingers, become scarce in the sequel, resurfacing only in the final moments.

In stark contrast to the compassionate person he once was, who after a point started avoiding looking into Priya’s eyes in jail to shield her from his pain, Manu in Side B is obsessed with ensuring Priya’s ‘happiness’. He resorts to constant stalking, monitoring her outings and home life by peering through the windows of an abandoned train coach near her house. His actions extend to providing unsolicited help to her family and even seeking small revenge on her behalf. While Manu never attempts direct contact with Priya, he is portrayed as a ruthless person, willing to go as far as contemplating harm to her husband for her ‘happiness’. This arc adds a compelling dimension to his character, not often explored in the case of other characters in the franchise.

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Unlike the compassionate person he once was, who after a point started avoiding looking into Priya’s eyes in jail to shield her from his pain, Manu in Side B is obsessed with ensuring her ‘happiness’. (Image: Rakshit Shetty/Facebook)

While his rapport with his former jailmate Prakash (Gopal Krishna Deshpande) is endearing, depicting how two people who have lost everything find solace in each other’s company, attempting to rebuild a new life, Manu’s pathetic endeavours to find Priya in Surabhi (Chaithra J Achar), a sex worker whom he initially meets to satisfy his physical needs but the relationship later transforms into his safety net as he yearns for a companion, also underline how obsessed he is about his lost love. In a skillfully composed shot, Manu is observed gazing at a broken mirror with Surabhi seated in front of it. In the reflection, the woman’s face is divided into two halves — one belonging to Surabhi and the other to Priya — emphasising his pursuit and illustrating his attempt to mend his heart with two shattered pieces embodying the women in his life. Despite Surabhi’s efforts to be a good companion, the absence of similarities with Priya, particularly her disinterest in the sea, results in Manu leading a dual existence, highlighted by the presence of broken mirrors at several junctures. He returns to his new partner only when he craves the warmth of companionship, revealing the grey shades of Manu.

He even starts referring to Surabhi as “Putti”, his nickname for Priya, which Surabhi objects to as she realises in the end Manu’s lingering feelings for his past lover. Despite once being a green flag, Manu, in the latter part, even resorts to physical harm by grabbing Surabhi’s neck in anger after she burns souvenirs from his past relationship.

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Manu’s pathetic endeavours to find Priya in Surabhi, a sex worker whom he initially meets to satisfy his physical needs but the relationship later transforms into his safety net as he yearns for a companion, also underline how obsessed he is about his lost love. (Image: Rakshit Shetty/Facebook)

While the serene sea serves as a metaphor in Side A, it’s replaced by shattered mirrors and glasses in Side B, emphasising the contrast in the characters’ lives. This shift is also evident in their clothing and colour choices, transitioning from vibrant to muted, mirroring their emotional and economic situations. Director Hemanth Rao, who extensively employed expansive spaces and wide to mid-angle shots, including in prison sequences, in Side A, masterfully transitions to confined spaces and close-up shots in the sequel, accentuating their life situations and how each person grapples with loneliness.

Even the tone of the music crafted by Charan Raj in both movies too is distinctive. While Side A features more radiant yet soothing songs and tracks, exuding hope and love, Side B’s music is louder and electronic, with abundant beats, emphasising the contrast in the characters’ lives.

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The cassette tape featuring Priya’s voice, which was once a source of immense happiness and hope for Manu, is portrayed in Side B as a haunting voice from his past. (Image: Rakshit Shetty/Facebook)

Though Sapta Sagaradaache Ello – Side B may not boast as compelling a narrative as Sapta Sagaradaache Ello – Side A, the franchise as a whole undoubtedly deserves a place among the finest in Kannada cinema.

This achievement is marked by an exceptional narrative coupled with stellar cinematic depiction, thanks to the sheer brilliance of director Hemanth M Rao and co-writer Gundu Shetty, complemented by top-notch performances from Rakshit Shetty, Rukmini Vasanth and Chaithra J Achar, among others, and the heartfelt efforts of the creative and technical crew.