You might have watched a number of Kaala reviews. But you haven’t seen anything until you’ve seen “Twins Review Kaala”.
Anand and Vikram Venkateswaran talk about the politics behind the colour scheme, the aesthetics and facial hair in Pa Ranjith’s latest. And all this in three minutes or less.
Kaala has had a polarising effect among the masses, thanks to the huge contrast between the underlying message and the overarching star power. On one hand, this was Rajinikanth’s comeback film, one that allowed him to display his style and his acting chops at the same time.
Rajinikanth was God in slow-motion and had seamlessly woven the actor in him with the style-mannan persona.
On the other hand, the film had a clear Dalit-Dravidian political message; one that was sewn into its every aspect — the blue-white-green flags that represent Ambedkar’s Dalit movement, the books in Kaala’s room that are cornerstones of Dravidian-Dalit ideology (Ravana Kavyam), the name given to Kaala’s youngest son (Lenin)... the subtext is endless.
Even Huma Qureshi’s character’s background – a Muslim from Pathamadai (southern TN) – has a deep and troubled history that most of TN will understand.
But all all of this, is wrapped in a beautifully choreographed Masala-rich narrative, driven in almost every scene by the presence of Namma Superstar! And that’s what makes it work. That’s why it’s a Rajinikanth film!
Or is it? What you’re actually watching is not the story of Rajinikanth, but of Kaala, a character created and visualised by Pa Ranjith. So when you say you like the film, you are, in effect buying into Ranjith’s viewpoint.
But then all films are vehicles for the director’s thought. That hardly matters when it is graced by Rajinikanth as the leading man. Whatever part he chooses, he excels in, and delivers memorable performances that appeal to all ages and demographics.
So is it a Rajinikanth film? Or a Pa Ranjith film? The question is still open. Let us know what You think.