'Kaala' Review: No Punch In Linear Narrative, Rajini-Ranjith Duo Disappoints Again

Director Pa. Ranjith has for the second time wasted Rajinikanth라이브 바카라 magical screen presence and fan following with yet another tepid storyline. In바카라 웹사이트Kabali, the story happened in distant Malaysia, as Rajinikanth took on Chinese underworld dons. In바카라 웹사이트Kaala, he battles a Marathi—Nana Patekar—to protect the rights of Dharavi slum dwellers of Mumbai to live on their own land.

To be fair,바카라 웹사이트Kaala바카라 웹사이트does not suffer the confusing screenplay of바카라 웹사이트Kabali. But the latest Rajini movie라이브 바카라 presentation is linear with no surprises or twists in the storyline. And that robs it of any charm generally associated with a Rajini movie. Ranjith has penned politically-loaded dialogues for the superstar: they may serve him well in politics, but in the film they simply fail to add zing.

A comparison with Mani Rathnam라이브 바카라바카라 웹사이트Nayakan바카라 웹사이트(also set in Dharavi) and Kamal Haasan라이브 바카라 award-winning portrayal of Velu Nayakar in that 1987 movie is unavoidable. While that film remains a classic,바카라 웹사이트Kaala바카라 웹사이트would register as a forgettable blip on Rajini라이브 바카라 largely glittering filmography.

Rajinikanth plays his age—he is even a grandfather in the movie as he is in real life—as the leader of the people of Dharavi, many of whom had moved from South Tamil Nadu like Kaala라이브 바카라 family. The film opens like a documentary on how the slum populace forms the backbone of any large metropolis, yet are the first to be thrown out of their homes under the name of beautification.

Building on this theme, he shows Karikaalan alias Kaala leading the resistance of the locals to redevelopment plans of Hari Bhai (Patekar), a powerful right-wing politician of Maharashtra라이브 바카라 ruling party. The entire film is about the tit-for-tat between the two. Rajini kills the right-hand man of Hari, gets a proxy to surrender in court and virtually imprisons Hari in Dharavi when he comes to visit him. Hari responds by getting Kaala hauled up to the local police station and then lets him go only to target him by ramming trucks into his jeep. While Kaala survives, his wife and eldest son are killed.

Kaala then visits Hari at his home, only to warn him that for the poor land is livelihood while for the rich it was power. Hari responds that he has been after power his entire life. Kaala challenges him that he cannot take away even a fistful of sand from Dharavi, following which Hari라이브 바카라 henchmen burn down the houses. In retaliation, Kaala organizes a strike of workers: cab drivers, sanitation workers and the rest of the working class who live in slums like Dharavi. So Hari sends his goons and police to Dharavi who attack the residents and apparently kill Kaala in a bloody confrontation. As a triumphant Hari prepares to do bhoomi puja at Dharavi, Kaala materialises and foils Hari라이브 바카라 takeover of the slum.

Rajini has done full justice to his role, but more as the family man, romancing his wife (Eswari Rao) and looking embarrassed in the presence of his first love (Huma Qureshi). As a don, there are hardly any incidents to prove his heroism or quick thinking to outwit the villains. And most of the time his powerful and piercing eyes are hidden behind dark glasses. Otherwise he is only shown driving a jeep, sitting cross legged in front of his house with a mongrel and walking into the frame in slow motion.

The acting honours belong solely to Eswari, who comes as the feisty wife who even tolerates Rajini라이브 바카라 former love re-entering his life. The few laughs that the film generates are due to her. Patekar has been wasted by mouthing irrelevant lines comparing Rajini to Ravan, while closer to climax he is shown as a Ram bhakt, as director Ranjith tries woefully to juxtapose the Ramayan on the script.

The other two heroes of the film are art director T. Ramalingam, who has recreated Dharavi in Chennai and cinematographer Murali G., especially for the climax filled with different colours. Director Ranjith라이브 바카라 symbolism is growing tiresome as he uses the colour black, a Buddha Vihara and an Ambedkar statue while giving vent to the voices of the suppressed. Not many directors get to work with Rajini in two successive movies. Ranjith got the rare chance and he has blown it away. Rajini라이브 바카라 political entry will be marred by yet another flop and he now needs ace director Shankar라이브 바카라 ‘2.0’ to rescue his superstar image.바카라 웹사이트