Kaala Review - Black Or White

Really, this review of Kaala is redundant. Because, I have no cultural connect to Pa Ranjith’s newest film. I have not worshipped at the shrine of Superstar Rajinikanth (which is how the film introduces him - in bold, bright, flashing neon lights), nor have I even seen a film of his. So, I walked into Kaala, expecting a mindless illogical film with some masterfully crafted action sequences. As expected, the latter came through. But what I didn’t expect was a coherent narrative. Kaala or Kaala Karikaalan as it is called in the Hindi dub, follows Karikaalan (played by Rajinikanth). He’s a god among men. He and his Tamilian family live in Dharavi, a well-known slum of Mumbai. When a devious politician, Hari Dada, played by Nana Patekar tries to mow down the beloved slum under the pre-text of development, the people led by a raging Karikaalan drive a rebellion against this corrupt man.

No doubt, Kaala has an interesting heft to it. It’s both slick and savvy with a hint of emotion. So while Rajinikanth beats up goons with no more than an umbrella in one scene, he also cries at the sight of the death of a loved one. Karikaalan is a polarising caricature. His persona, for the most part, is over-bearing. The only relatable emotions are in his scenes with his wife, Selvi (played by a stupendously funny Eswari Rao). When I watched Eswari perform, I saw hints of Kajol from Kabhi Khushi Kabhie Gham and hidden insecurities of Preity Zinta in Kabhi Alvida Naa Kehna. She’s absolutely brilliant and when the drama gets too loud, she subtly carries the film.

The supporting cast is a mixed bag. There’s Huma Qureshi as Zareena, Kaala’s ex-love interest. Huma plays a social activist. We’re told she’s a global citizen - meaning she’s helped people in slums from Africa and all over the world. But, armed with less than 5 expressions and one young daughter, her character track is all over the place. Unconvincingly portrayed, the character of Zareena is meant to incite emotions in you, but ends up being yet another love interest that takes the back seat to Thalaiva’s ass-kicking powers.

There’s also Manikandan and Anjali Patel, as two social activists, Manikandan playing Kaala’s distant son, Lenin. Lenin and Kaala’s arguments are the more brutal moments of the film. Peppered with Selvi’s sarcastic dialogues, their exchanges feel raw, real and emotional. Rajini has a face of steel throughout these altercations, almost a parody of himself. There’s also Nana Patekar, playing a power-hungry politician, almost as a jab to the ruling government today. I don’t know what to say about Nana’s performance. He does get the film’s most powerful dialogues and the explosive interval shot where he is literally stopped from leaving the slum is absolutely brilliant. But, there is just too much posturing and attitude. Nana’s lines are biting and scream his desires, but they only go so far in proving a point. His rather monotonous approach is perhaps what his role required, but I wish he had approached it with a little more heft than what he did. His scenes with Rajini are absolutely brilliant. He is calm and is restrained while Rajini is menacing with that devil smile. It’s their scenes that make yopu want to clench your fist in the air as Thalaiva does what he does best - dominate. However, after a point, watching Rajini recite one dialogue after another only to be met with loud cheers from all of the people of the slum gets repetitive.

Especially when there’s nearly 3 hours of it. Kaala is over-long and unnecessary in places. Soon after interval, the film feels overtly rebellious and purposefully loud. The drama is always at a high point and 2 hours in, with no end in sight, Kaala starts to drag. But it is the gargantuan personality that is Rajinikanth that carries the film on his shoulders. There is something satisfactory about watching him romance, joke around and kick some bad-guy ass. And I don’t think a director other than Ranjith could have achieved this.

Ranjith differentiates Kaala (which as a character on paper is really no different) from Rajini’s other chest-thumping messiahs. Here, he humanises another cardboard character and Rajini runs with Ranjith’s narrative. It’s a bumpy road, no doubt, but I suggest you go and watch Kaala (but do carve some time out for it). I suppose the South’s infatuation for Rajini is like our infatuation for Shah Rukh when he romances. There’s no explanation for it, it’s just a habit. I’m going with 3 stars out of 5 for Kaala. It will seem either black or white - either screechy or chest-thumping, but I think that no other director could have pulled it off and neither could any other actor have.