As the movie runtime comes close to an hour, the audience have seemed to lost the enthusiasm as well. I see random villains trying to kill Kabali but with not much of a zeal or a structured plan. I sit there hoping for a typical South Indian movie flashback which cooks up a good and a brutal revenge story. The critic in me starts to think why all this is happening, but the fan in me asks the critic to wait for some more time. Random scenes follow with some flashback thrown in.
There is always a herd of people around him as he walks, eats, drives and give speeches at his Free Life Foundation (please don't ask what it's about). The so called gangster cum social worker Kabali looks for some answers and payback as he is out of jail. As the movie plot begins to shape up the cinema lover inside me wonders as if it is picking up somewhere from the middle. Whistles follow as the Rajni dances a few steps in the introduction song. The fan inside me buckles up for a Rajni ride.
It feels good to see him doing push ups even at this age. It is followed by 'Sivajiesque' introduction scene in the jail. As the 'SUPER STAR' flashes on screen with the Kabali theme music, excitement runs through the movie hall. Just as much this movie struggles to find the balance between the actor and superstar Rajni. Watching Kabali for me was an inner struggle between the fan in me and the critic. So I went to the theatre with minimum expectations on the story and logic, but I did expect it to be an out and out Rajni film. I did the same for Kabali and I also avoided listening to naysayers despite the bad feeling I had from my previous outing with Linga. Even I am one of those who eagerly wait for a Rajni film and watch the trailer over and over to get that feel before the release. And the onscreen violence makes you wonder how the censor gave this film a ‘U’ certificate.I am a sucker for mass films and typical heroism, I admit it. As for the actors, while many of the actors seem force-fitted in their roles, some Radhika Apte (dignified) and Dhanshika (badass) manage to easily slip into their roles.
The impression we get that Ranjith hasn’t been able to completely transfer what he had in mind (and paper) onto the screen. The climax also doesn’t deliver the emotional blow that it should. While some of the scenes work individually - be it as mass moments or poignant ones, the film does not come together as whole. The director either wants us to hoot and whistle looking at the Superstar’s style and charisma, or tries hard to get us emotional. The main problem with Kabali is its jerky tone. Ranjith is successful in giving a new shade to the Superstar - vulnerability (this is that rare Tamil film where we feel scared for Rajni’s character), but the film is engaging only in parts. It is more a director’s film, and that is both its strength and weakness. The pleasant surprise is that the film also offers him a chance to explore the actor in him, and he aces the moments when he has to act pensive.īut Kabali is really not a typical Rajini film. With his signature style, he gives fans what they expect from him. The jadedness that we saw in Lingaa has been replaced by a renewed vigour. And by choosing a young director like Ranjith for this film, Rajinikanth, too, seems to have realised this. The best thing about Kabali is that it does away with the ghost of Lingaa, which showed that the Rajini formula isn’t as potent as it was before.