A Rajnikanth movie is an event. Criticism, appreciation and any reaction is a mere byproduct of this event. Regardless of the reception, Rajni’s movies steam roll to success. While a review may just be an exercise in formality, it’s imperative to talk about the Kabali experience. So if you’re watching the Thailava in Tamil and/or Telugu, you’re sorted. But those choosing to watch this film in Hindi, need to make a beeline for the Tamil version with subtitles. Because in Hindi a lot gets lost in translation. Most importantly, Rajnikanth’s punchline driven bravado and charisma. To enjoy Kabali you have to watch it in Tamil. That’s the only way the Rajnikanth experience supercedes Kabali’s entertainment. That’s the only way Rajnikanth rises above a trite script.
Kabali is a classic Hollywood style gangster drama. A good-hearted man named Kabali turns to a life of crime, but he remains benevolent despite his penchant for violence. He’s jailed and when he’s released from prison 25 years later, he has to pick up the pieces of the life he left behind. His enemies resurface, so do his friends, but Kabali longs for his wife who passed away under tragic circumstances. Rajni’s characteristic swagger and confidence is complimented by his character’s melancholy. He fights but he also ponders and reflects on his life, loss of love and the effect that organised crime has on other helpless people. Picture it like The Godfather meets the moralistic themes of Mani Ratnam’s and Kamal Hassan’s Nayagan.
At least that’s what Kabali aims to be. But the script doesn’t have the emotional depth nor the insights required to make this film a resounding saga of human drama. Some of the situations written into the screenplay are clichéd. The focus remains on style rather than substance. PA Ranjith’s direction and treatment of Kabali is like a slick Hollywood action movie. The cinematography and the production design is top notch. This film looks too good to be true. But when the movie tries to slow down and reflect on it’s emotions it starts doddering, because the writing is simply not good enough.
This 3-hour gangster saga works only because of Rajnikanth’s on-screen persona. His style and his mannerisms are woven into the dialogue of the movie. He’s well-dressed but his heart is still simple. That his clothes and his style have no bearing on his conscience. That his values as a good human being remain unaffected even in the light of his profession and appetite for violence. There’s a bit of Bhagwan Dada in there too. Rajnikanth’s performance is the soul of this film. It’s definitely not his best, but it’s still good enough for a few hoots and whistles. Supporting performances by Radhika Apte, Dhansika, John Vijay and even Winston Chao are fantastic. Everyone complements Thalaiva’s efforts perfectly.
It takes Rajnikanth’s presence to make Kabali an entertaining movie. Without him, this would’ve been a good looking but very forgettable film. But with Rajni’s characteristic aura, Kabali does become an event film. Must watch in Tamil.
