The strength of Local Kung Fu 3 lies in its simplicity: while the plot may be thin, it delivers abundant martial arts action, cheeky humor, and uniquely local scenarios that make it feel truly authentic. The action, with an elaborate focus on locks and chokes, is a significant upgrade from the series’ previous installments.
In one of the film’s opening sequences, a stylish and wholesome fight scene is staged on the banks of the Brahmaputra River, introducing our three antagonists—Dulu (Utkal Hazowari), Tansen (Bibhas Sinha), and Koku (Manab Saikia)—a few years after the events of the first film. Like many third installments, Local Kung Fu 3 directly ties back to the original film, revisiting the storyline of Charlie, Sumi, Bonzo, and the rest.
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The story continues with Bonzo’s adventures after earning his yellow belt as he sets out to find new targets to test his newfound skills. The film also delves into the past, showcasing the childhoods of Dulu, Tansen, and Koku, while exploring their bond with their high school teacher (played by Bibhuti Bhushan Hazarika). In the present day, Dulu, Tansen, and Koku’s illegal activities inadvertently disrupt their teacher’s dream of establishing a school for underprivileged children.
Unbeknownst to them, the land they have forcibly occupied belongs to their teacher. When they discover the truth, they experience a change of heart, but it’s too late to undo their actions. As with all Local Kung Fu films, only a fight can resolve the conflict. From this point, the plot becomes minimal, primarily serving as a backdrop for a series of jokes and sketches.
Director Kenny Deori Basumatary demonstrates his directing skills by keeping the sequences raw and real while highlighting the creativity of his action choreography and camera work. Remember that impressive one-take shot where the camera seamlessly moves through the characters engaged in a fight? It’s very well-planned.
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However, the film isn’t without its flaws. There are instances where the film attempts to be dramatic or sentimental, but these moments often fall flat. Scenes where the goons harass young girls aspiring to study and destroy their notebooks and science projects—implying that girls should focus on domestic tasks rather than academics—feel like the filmmakers are trying to force a leksaar (a serious message) into the narrative. Fortunately, the film doesn’t dwell on these serious themes for long, quickly transitioning to the next comedic skit.
The film also loses its sense of urgency midway when Charlie Da (Kenny D Basumatary) finds a new love interest played by Rimpi Das (following his breakup with Sumi), a storyline that doesn’t lead to anything significant. Additionally, there’s an elaborate introduction scene of two school-going martial arts brothers who disappear halfway through the film, potentially missing an opportunity to add more depth to the fight sequences later. There’s also a highly pampered child who is primarily preoccupied with posing for the camera or playing mobile games, coming across as irritating. While the intention is to create a contrast with the underprivileged children, the character’s behavior can be off-putting.
It’s worth noting that actor Bibhuti Bhushan Hazarika previously played G.K. in Local Kung Fu 2 (2017), a character who wanted to illegally vacate a small school to build a shopping complex. In Local Kung Fu 3, Hazarika portrays a teacher whose land is being seized and whose school is being destroyed to make way for a hotel. This is quite a role reversal! Another connection to Local Kung Fu 2 is the Mama-Bhagin duo (played by Amar Singh Deori and Montu Deori) who return with a menu of dhulai (beatings) this time.
Ultimately, people don’t watch Local Kung Fu movies for anything other than a good laugh, and in that regard, Local Kung Fu 3 succeeds. It offers great one-liners, well-thought-out puns, physical comedy, and some classic fight sequences. In fact, Local Kung Fu 3 brings back the essence of the original Local Kung Fu (2013) by focusing more on martial arts and jheng, unlike the second installment of the series, which was entertaining but diverged from the sensibilities of the first film.
Local Kung Fu 3 recreates the feeling of watching a group of friends hanging out, although the characters have matured somewhat compared to the first film. However, this also represents a shortcoming. It’s unable to recapture the “X factor” that made the first film so popular.
I believe the X factor of the first film was its representation of urban youth culture in the early 2010s—a strong desire to be perceived as cool, peer pressure, involvement in jhengs (low-key gang conflicts), and pursuit of street cred. It was a time when there were few entertainment options available for those who skipped classes. It was a time when Android phones were just entering the market and becoming tools for self-expression. Many young people also experimented with drinking, smoking, and chewing gutkha (and the film addressed the negative consequences of these behaviors) around this time.
This was the primary fan base of the film, and it reflected their experiences. Now, those millennials have grown up and are pursuing jobs, higher studies, or businesses, and Local Kung Fu 3 doesn’t resonate with them as much. As a millennial myself, I understand the nostalgia the first film evokes for our generation. However, I doubt Local Kung Fu 3 will have the same nostalgic value for us ten years from now.
There’s nothing inherently wrong with being different. As a standalone film, Local Kung Fu 3 is simply another feel-good, laugh-out-loud movie from Kenny D Basumatary, and if you enjoy his style, you’ll likely enjoy this one as well. However, if you dislike his films for their lack of a serious plot or the superficiality of the jokes, this one may not appeal to you (try Suspended Inspector Boro (2018) or Jiya (2024) instead).
Local Kung Fu 3 remains true to its hyper-local nature, providing an interactive platform for food, spaces, situations, and ethos that are uniquely local. The action of Local Kung Fu (2013) takes place in Guwahati, while Local Kung Fu 2‘s (2017) creative geography explored both Tezpur and Guwahati simultaneously. Moreover, Koku Da’s Hindi-speaking skills are put to the test as he visits Delhi, leading to humor that is only relatable to the locals of Assam.
Both films have previously highlighted local cuisines, including dishes such as silkworms, snails, pork, Karbi-style chicken, and lusi chicken. In this installment, the portrayal of food evolves as a non-Assamese character in the film imposes his vegetarian dietary preferences on the other characters, aiming to “civilize” them. While the characters resist this imposition, the film’s focus on the culinary culture of Assam speaks volumes about the politics of food and the region as a whole.
Being political is not new for the Local Kung Fu series, which has previously addressed various political and social issues, including the impact of drugs and alcohol on youth, superstitions, the influence of self-styled gurus and Godmen, and the erstwhile culture of bandhs in Assam. In Local Kung Fu 3, the criticism extends to how non-Assamese businessmen are purchasing properties in Assam and imposing their own culture over the natives, while also highlighting how we might have lost our sense of pride in our own culture. There’s also a reference to the media-businessman-politician nexus as the film raises concerns about child rights and education. In short, Local Kung Fu 3 is more political than its predecessors.
Released on September 5, 2024, in over 150 screens across Northeast India, the rest of the cast includes Bonny Deori, Tony Deori Basumatary, Rimpi Das, and Rubul Boro. And this time, the martial arts aren’t exclusive to the boys; the girls also get the opportunity to showcase their kung fu skills.