Abhijit's attempt to reinvent himself, Samarasimha Nayaka, is a disaster from the word go. The actor who has been good as a parallel hero, should have depended on good technical hands. He should have chosen a good story to make an impact. But unfortunately, the choice of director Lingaraj Kaggal, with a mindset from the 50s and 60s, has spoilt the chances of a reasonably good offering. There is no denying that Abhijith has tried to salvage the film by providing a good performance. He looks better in fight and dance sequences, but that is not enough.
Samarasimha Nayaka is shot with outdated camerawork and a pedestrian script, resulting in an outdated look. The emotional sequences look jaded and are mere additions to the film's narrative. Despite seasoned artists like Sundar Raj, Srinath, and Prameela Joshai, the acting department suffers because of the poorly etched roles.
The film, produced by Abhijith's wife Rohini, wears the tag of a bad film made in the 60s and 70s. The plot, its presentation, comedy and fight sequences look like a rehash from potboilers dating four decades
Kashi's world consists of a loving sister. A lady doctor comes to the village and informs Kashi that the landlord's sons are creating havoc in the village. She also finds out that they have raped the maidservant of their house. Kashi then forcibly weds this maidservant to the landlord's son. An enraged son rapes Kashi's sister. This leads to the rampage wherein Kashi takes on the villains and set freed the villagers of exploitation.
Abhijith excels in action sequences, but is handicapped by a weak script. Rashimi Kulkarni seems average in dialogue delivery and acting, but proves to be a bad dancer. Tara, in a cameo, leaves an impression. Nothing good can be said of the veteran artists Sundar Raj, Srinath and Prameela Joshai who merely add to the cast.
A badly made film, best left avoided.
