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Exclusive Movie Review : Kabali
Posted on: 22/Jul/2016 11:42:10 AM
Before getting into the vivid analysis on the year`s most expected Kabali, we would like to bring up an instance of exemplification that happens in our very own lives. You’re invited for a big grand dinner boasting the ever best Biriyani. You’re prepared to have a great munch of this deliciously prepared food and once you’re set for the table, a delicious South Indian vegetarian meal is served. Remember this? This is Country`s best vegetarian food served for you. Now would you say that the one served before you is bad? Well, you were prepared with your mindset to have Biriyani but you`ve got something different. The same happens with Kabali, where you walk into theatres for a complete mass entertainer as promoted by producer Kalaipuli S Thanu, but things don’t turn up as you expected as it travels on a different lane.
Kabali is an emotional drama. When you say DRAMA, you are not supposed to expect Raciness throughout the tale, fast-packed screenplay. Drama is supposed to move at the certain momentum and yes Kabali belongs to this genre and amidst the drama, there are some power packed sequences, but what becomes more off ingredient is Emotional Realms. And to the precise point, it`s Rajinikanth who yet again proves that it’s not just Mass he is made up off, but you need to know about the Rajinikanth of 80s too. The actor just leaves your eyes moistened in many sequences, especially the scene, where he reunites with his daughter. The entire dramatic scene involving Rajinikanth, Dhansika, Attakathi Dinesh, Kalaiyarasan and John Vijay before the point of intermission is the most promising sequence. The whole episode involving Rajinikanth’s emotional conflict longing for his wife and his encounters with her illusionary apparition as a pregnant lady is melts your hearts. It’s an impact that leaves deeply into your hearts when you miss your loved ones in alienation. Moreover, the sequence where Rajinikanth and Radhika Apte reunite and suddenly Santhosh Narayanan stops his BGM for a pause signifying LUMP IN THROAT moment or perhaps, HEART SKIPPING A BEAT moment is awe-inspiring.
When it comes to the narrative aspects, there are certain flaws that accumulate here and there. If the intention of Ranjith was to completely showcase the power of Tamilians, he should have thrown some light into it rather than just showing few dialogues. Few logics slightly miss in these aspects and Ranjith should have made it more convincingly engrossing.
As cited above, Rajinikanth is tremendous with his performance. Just with his eyes expressions, he manages to keep you adhered to the screens. The scene where he reunites with his daughter and suddenly his expression changes into emotions is just mind-blowing. A father-daughter emotion conveyed without words and just during a fight sequence – The situation is something unusual and Ranjith along with stunt choreographer has executed it very well. Radhika Apte is beyond brilliance emoting completely. Most of her episodes are so much bounded to intense emotions and she has done it with excellence. Dhansika is apt and perfect - Watch out for the scene, where she is so scared in the hotel room fearing her father’s safety. Attakathi Dinesh evokes laughter during most of his portions. He rarely has dialogues to speak, but his funny body language keeps the theatres in huge laughter. Kalaiyarasan doesn’t have much to score here`re, but his screen presence is good. Riythvika’s role is completely wasted, though her performance is extraordinary. John Vijay can ardently thank Ranjith for giving him a naturalistic role and something different. But the biggest minus is the characterizations of baddies and in fact the casting as well. Not alone Kishore and the Chinese actor, but the entire bunch of baddies opposite him including Mime Gopi is so feeble and weak. The power of Kabali is so tremendous just with the presence and imagines the one confronting with him. Ranjith should have carefully sketched the characters and casted someone more powerful.
When it comes to narration, he seems to have slightly confused over balancing Mass-Commercial and classic elements. This turns out to be a major constraint, which might be a slight minus too. Pa. Ranjith seems to have intentionally thrust the socialism and communism elements into the dialogues, which is not necessary in many places as it looks odd and looks like intentionally done one.
When it comes to musical score by Santhosh Narayanan, most of the songs are occur as background score and editing by Praveen is the major attraction in keeping the screenplay intact. Not to miss the perfect colour and angles placed by cinematographer Murali.
Overall, Kabali is an usual gangster movie with stereotypical pattern and predictable screenplay, but manages to engross on emotional context. Now it’s up to the audiences to be refrained from the over-hyped promotions of Kalaipuli S Dhanu and just accept the fact It’s a very-very simple movie and not an usual Rajinikanth flick. If you’re very well used to this motto, then Kabali would be a likeable film.
Verdict: A film with stereotypical pattern, but unparalleled emotions and performances eclipses it.
Rating: 3.25/5
R. Richard Mahesh
