Kaala Movie Review

June 7, 2018

2 minutes read

Review Overview

Performances

Screenplay and Direction

Music and Technical Aspects

Celebration of the working class!

Kaala is director Pa. Ranjith's celebration of the working class. Although it has numerous layers, and subtexts to explore for a discerning film critic, there's no denying the fact that its one-dimensional story-telling pattern is a slight letdown.

Cast: Rajinikanth, Nana Patekar, Huma Qureshi, Easwari Rao, Samuthirakani, Anjali Patil, Arul Dass, Dhileban & others

Cinematography: G Murali

Music: Santhosh Narayanan

Editing: Sreekar Prasad

Stunts: Dhilip Subbarayan

Art Direction: T Ramalingam

Written & Directed by: Pa Ranjith

Produced by: Dhanush’s Wunderbar Studios

Release Date: 07-06-2018

Run Time: 02:46:00

Kaala is director Pa. Ranjith’s celebration of the working class. Although it has numerous layers, and subtexts to explore for a discerning film critic, there’s no denying the fact that its one-dimensional story-telling pattern is a slight letdown.

While Kabali was mostly rejected as a sapless propaganda film for various reasons, Ranjith has now made a movie which is replete with heavy political overtones. The dialogues in the movie pose a strong resemblance to the current political scenario in Tamil Nadu, which is still mourning the demise of Thoothukudi victims, who fell prey to police firing in anti-Sterlite protests.

Rajinikanth’s now-infamous press meet speech at Tuticorin also aligns with the film in a crucial stretch in the second half. What’s more enjoyable in Kaala is the portrayal of familial bonding and some relationship arcs between individual characters.

Easwari Rao as Rajinikanth’s wife is a scream. She lights up the mood of the film at regular occasions with her effortlessly candid performance. Whenever she appears on screens, she brings the roof down with her wit and loudness. Another notable character is Manikandan, best known for writing the dialogues of Vikram Vedha, as one of Rajinikanth’s sons. There’s a beautiful transformation for his role which pretty much sums up what Ranjith tries to convey with the suppression of the oppressed community.

Bollywood actress Huma Qureshi comes as a breath of fresh air in the first half, striking a lovely equation with Rajinikanth on screen. Her mature relationship angle with the Superstar eases the film’s claustrophobic setting, and she has delivered an exceptional performance as Zarina, a social activist who initially fails to see what meets more than the eye.

The preachy tone and over-the-top dialogues cloud the last thirty minutes of the film, and before you realize, the predictability factor looms large.

Santhosh Narayanan’s rousing background score elevates the film on various occasions. The pre-interval rain fight sequence would be a good treat for Rajinikanth fans. Kaala is a film where Ranjith has tailored Rajinikanth to fit in and not the other way round.