Pa Ranjith is pretty clear about his directorial purpose and he is nowhere set to compromise anywhere or anyone, even with Superstar Rajinikanth. He broke the stereotypical portrayal of Rajinikanth through Kabali and in ‘Kaala’; he tries an upgraded experience of the same sort. When Rajinikanth is barged into the police station surrounded by opponents, the way he challenges them leaves entire theatre. That’s the time, when every Rajinikanth fan leans forward with more attention. Yes, we do enjoy the second hour, but eventually, the formula of Pa. Ranjith is sprinkled everywhere.
One more highlighting fact about Pa Ranjith is that he is too good in portraying matured love stories. In Kabali, we relished the beautiful tale of romance between Rajinikanth and Radhika Apte. Over here in Kaala, it’s much more beautiful, where we see the exquisitely written episodes among Rajinikanth, Huma Qureshi and Eeswari Rao.
Coming down to the next major highlights, the filmmaker is never giving upon sketching substantial characters and brilliant casting. Even the minutest one in the frame does a fabulous job. Samuthirakani is the best example, where his role is completely different from routine mode and offers more humour. Nana Patekar is the strongest pillar, one must say and gradually agree after watching his outstanding performance. Eeswari Rao appears in a refreshing role and she has done a fabulous job. Huma Qureshi is an enlivening element in the script. Dhiliban showcases a real big surprise through his outstanding performance. Overall, when it comes to performance, every actor scores brownie points. The scenes involving Rajinikanth and Manikandan, who plays his youngest son is so much compelling.
On the flip side, Pa Ranjith’s writing seems to be faintly reminding us off many instances from Mani Ratnam’s Thalapathy and Nayagan. In addition, the pattern of Kaala seems to be slightly in traces of Kabali as well, including the final moments.
The first hour is used establishing the backdrops of Dharavi, the characterizations and conflict. From the moment, Rajinikanth and Nana Patekar bounce upon each other, the screenplay gets racier, especially the 30 minutes of post-intermission.
Rajinikanth savours to the taste of his fans with his hilarious, massive and emotional approach. He is the King and there is no doubt about it. T. Ramalingam deserves not just one or two, but tons of accolades. It’s unbelievable that he has created an impeccably realistic backdrop, where we don’t feel a pinch of artificiality anywhere. Cinematography Murali proves his wizardry in many places. The way he showcases the heroism angles and bird’s eye view in many places are at the best. Background score is yet another highlight, where as songs by Santhosh Narayanan don’t steal our attention.
If the entire team has to thank someone, it’s none other than Sreekar Prasad. If not for his editing, some of the portions would have turned out to be dragging ones. Such is his intelligent sense of transiting the scenes.
By the end of show, we carry back home the screen presence and performance of Rajinikanth, but what dominates more is Pa Ranjith’s impact, which might get mixed response. Yes, he wins as a filmmaker in conveying his ideas with a hard-hitting theme, but for Rajinikanth fan, certain things might be slightly not to their expectations.