Pepe review: All gore and style but little substance in this Vinay Rajkumar film

The release of promotional content for Vinay Rajkumar’s Pepe—from the initial poster to the final trailer—sparked significant curiosity about the film. It promised a story of an angry young man, set in a feudalistic backdrop. The film follows Pradeep, aka Pepe, the child of parents from different castes, as he battles for his rights against traditional beliefs and practices.

Director Shreelesh N Nair’s debut commercial feature captivates with its unconventional editing, non-linear narrative, and striking visual style, making Pepe visually engaging. However, in his pursuit of innovation, the filmmaker seems to have overlooked a crucial element—crafting a compelling narrative that keeps viewers engaged.

Cutting-edge in style

A standout feature of Pepe is its unique treatment, which brings a fresh perspective to Kannada action films. The familiar machetes and fight scenes take on a new look due to this innovative approach. The editing adds visual interest, including scenes where Vinay and Mayur Patel are shown in split black and white and colour, effectively depicting past and present.

The action choreography, visuals of the fish market, and motifs such as anklets and grape crushing enhance the film’s visual appeal. Additionally, Pepe features a compelling background score that elevates the scenes, particularly those set in the Brahminical household.

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What works, what doesn’t 

Shreelesh S Nair’s choice of rapid edits prevents viewers from fully absorbing the scenes, which diminishes the film’s ability to hold interest. To understand the names and backgrounds of the numerous characters, viewers must be highly engaged, but Pepe provides little information in the end. There are some very well-written characters, especially the women, but one does not get to see them translate into anything worth taking away when they leave the cinema halls.

Some very powerful visuals, like Kaajal Kunder soaked in blood in a white outfit to showcase her during her menstrual period, do very little because of the way the edit works.  Similarly, Medini’s nothing-will-stop-me-till-I-get-revenge act is also marred by rather unimpressive treatment as her character disappears into oblivion after some powerful scenes.

Some fine performances

Vinay portrays the angry young hero in a subdued yet effective manner, delivering a performance that suits his style. Mayur, making a return, also impresses. Aruna Balaraj has a significant role and justifies her casting, while the rest of the female ensemble, including Medini, Kaajal, and Sandhya Arakere, also deliver strong performances. Bala Rajwadi is well-cast in a notable role. However, Raghavendra Rajkumar’s cameo falls short of its intended impact, failing to establish the expected significance as the supposed sutradhar of the story.

Final take

Pepe is worth watching for those interested in seeing the Kannada film industry explore new territory and support innovative projects. The film offers a fresh style and unique content. However, be prepared for a less engaging narrative, as the emphasis on style does not translate into substantial storytelling.

(Views expressed here are personal)

(Edited by S Subhakeerthana)

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