Kaala Review: Director Ranjith establishes black as the new white as he unveils the 'actor' in super-star Rajinikanth

A emotionally-charged film with a strong political core, 'Kaala' reunites demi-god Rajinikanth with writer-director Pa Ranjith after their 2016 film, 'Kabali'. Considering Rajninikanth's recent foray into politics, there couldn't have been a better timing for this reunion. However, it was reportedly written at a time when the star had no political ambitions. Does it make for a compelling watch, anyway?  

Let's find out!

Story

Karikaalan (Rajinikanth), a muslim Tirunelveli native, is a family man who all of Dharavi looks up to as their saviour. He gets his name 'Kaala' from a god of the same name, who all the Hindu Tamil migrant dwellers of Dharavi are followers of. He is nor a gangster, neither an over-simplified version of RK Lakshman, the common man. He is, in a sense, a sum of both his sons - Lenin (Manikandan) and Selva (Thileeban). 

Lenin is an educated, non-violent, activist who fights for his people's rights, while his brother Selva believes in serving his countrymen in any way possible even if it means breaking some rules (or legs). They are both equally commited to their soil and its residents but have their own ways of handling their issues.

However, the main hero of the film is not the protagonist but the congested slum itself, which was once an eyesore and now finds its place in the heart of the megalopolis. Not only has it been recognized as a viable real-estate site but with an annual turnover of $1 billion, it has also become an important vote bank for the ministers.

One such minister is Haridev Abhyankar or Hari Dada (Nana Patekar), a former gangster and who now owns a real-estate company of his own. He yearns to conquer Dharavi and is ready to go to any extent to de-throne Kaala, the undisputed King of Dharavi. 

Kaala leads people's protest against Hari Dada's 'pure Mumbai' scheme. How he wins his battle against poverty, abuse of power, corruption, communalism, casteism -forms the crux of the film.

Review

Director Pa Ranjith introduces  Rajinikanth, in what can be called his most humble introduction scene on celluloid so far, with him getting his middle stump knocked out on the very first ball as he plays cricket with young kids in the slum. He establishes with that very shot, that it's Rajinikanth, the actor, who is going to portray the role of Kaala and not the superstar. 

The slow-pace of the film ensures that you become a resident of the claustrophobic slum. It surely surprises those who would have bought the ticket in expectation of witnessing Rajini in all his swag, for here they just get to see a character, who is almost always dressed in a plain black shirt, lungi and aviators. He doesn't carry a gun but an umbrella and uses it as his weapon, whenever required.

But that doesn't mean the director has compromised on those big moments his fans crave for. The slow-motion walks, the close-ups, the punchlines are very much there. He is still capable of fighting a dozen of goons single-handedly but the action-choreography is more convincing and real, this time. 

He plays his age with grace and doesn't make any fake attempts of convincing the audience otherwise. Ranjith has managed to unveil the 'actor' in Rajini, the superstar. An actor who has an unmatchable screen presence.But at the same time, he has also ensured that the films' other characters get their share of limelight, too. Like for example, the women of Kaala, unlike Rajini's previous films, are anything but props. They have pivotal roles to play and aren't there just for dramatic relief. 

Karikaalan's wife Selvi (Eashwari Rao) brings in the much-needed humour and domesticity in the narattive. Their middle-age romance is not just endearing but also very aspirational. Huma Qureshi is admirable as Zarina, a single mother, an NGO worker and also Karikaalan's ex-lover. That Selvi is okay with his husband having a tattoo of his ex-lover on his hand, and going out on a dinner date with her, isn't a proof of her vulnerability. She can be jealous,yes, but never insecure for her husband gives her the right of trust. 

Toofani (Anjali Patil), is not merely Lenin's girlfriend and hence Kaala's to-be daughter-in-law. She is a fire-brand activist who knows how to make her voice heard amidst a group of powerful men. She has a small but too-hard-to-ignore presence in the film.

A character like that of Kaala warrants for an equally strong antoganist and Nana Patekar was just that and perhaps more. The actor's menacing yet nuanced performance gives us few of the most memorable scenes in the film. 

Symbolism finds a whole new meaning in Ranjith's Kaala. The director has used mythology and colors to question our twisted concepts of the truth and evil, the good and the bad and the black and the white. Rajini's all-black look is off-setted with Nana's pristine, spotless, crisp white kurta-pyjama everytime the adversities cross paths. 

From the dominace of saffron in the political rallies, the pre-dominant use of blue (Ambedkar’s colour), black (the colour of protest) and red (the colour of revolution) in the Holi sequence, the impromptu raps, the mythological references to Ram and Raavan where the lead 'Kaala' is unabashedly referred to as Raavan and the corrupt politician as an altruistic Raam - the director makes a strong case against age-old prejudices. 

Talking about tools, music has been used as one, too. Santhosh Narayanan adds a whole new layer to Kaala with his mystic background scores. 

Verdict

Don't go for the slow-mos and the dialogues. Watch it for the story, and the incredible performances. It's a bit too long and there will be a time when you might feel bored but the climax will defintely make up for it. 

Critic's Rating: 3/5