Trains continually criss-cross across the screen as the film’s jobless and loutish foursome while away their youth chasing the chimera of becoming politicians. But trust their well-meaning parents, specially their dear dads, to understand their wards lofty ambitions.
With both their good for nothing sons and their fussy fathers not meeting eye to eye frisson becomes the order in Katte. Actually the problem with Om Prakash Rao’s Katte, who himself plays a drunken lot of son-in-law is that the message drummed home in the last 15 minutes of the film’s otherwise over two and half hour run making the rest of its screen time a ennui driving, migraine giving mis-adventure.
Staked with too much of drivel about how sons should also think of their future and social status and not be dependent on their fathers to make merry, Katte, despite all its honesty of trying to couch its message in the mish-mash of an entertainer, takes audiences on one loony ride before its emotional and educative climax.
If one can excuse Om Prakash Rao’s excessive indulgence and ‘spirited’ literally and figuratively way of tackling his otherwise trite, trashy tale, then one may find common cause with him and his homily. Otherwise, Katte, which seeks to evoke nostalgic past of R K Narayan’s Malgudi town and Shankar Nag’s eponymous television serial, to buttress its prospects, can be tolerate. It still comes across as a film that can be forgiven from among the many that should never see the light of the day.