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Critic’s Rating:
3.5/5
Kaala Story: A gangster from Tirunelveli, who is the King of Dharavi, fights for keeping the land safe from mighty politicians and the land mafia.
Kaala Review: This time, Ranjith uses Rajinikanth the Superstar to tell his message — land is the common man’s right. The story is simple… Migrants from Tamil Nadu settle in Dharavi and help build it, and run the city. When an evil politician-cum-land mafia don sets his eyes on their land, they revolt. Do they succeed?
Kaala begins with an animated story-telling device similar to Bãhubali, wherein the importance of land and the suppression of the downtrodden by the power-hungry is shown. The film quickly shifts to the present day, in live-action multi-colour (with black being the prominent hue). We are shown evil politicians and land mafia hatching plans to destroy the slums of Dharavi to make it Digital Dharavi and Pure Mumbai (an obvious reference to some of the actual government schemes).
We get a casual, but sweet introduction of the Superstar, as Kaala (short for Karikaalan). However, the pace picks up when it is established that he is the King of Dharavi and no one messes with him. The love track between Zareena (played beautifully by Huma Qureshi) and Kaala initially seems to go the Kabali-Kumudavalli way, but Ranjith is quick to realise his folly and sets up a beautiful dinner scene featuring the ex-lovers, where Kaala clarifies his priorities. Watch out for an amazing performance by the two actors here.
The pre-interval block has a typical masala stunt sequence that is staged on a Mumbai flyover (with some VFX coming to the aid). This scene reminds you of the Rajinikanth of yesteryear. A big treat for his fans. Sparks start flying once the antagonist Hari Dada (played with a menacing charm by Nana Patekar) enters the scene. The interval scene is a scream.
What follows after the interval is somewhat predictable, with Hari Dada seeking revenge and depriving Kaala of his loved ones. But slowly, Ranjith brings in his style of filmmaking. He talks about how the oppressed continue to be suppressed unless they protest against the establishment. Kaala does exactly that. He asks his people to use their body as weapon — telling his people to shut Mumbai down by going on a strike as the slum dwellers in effect run the city as taxi drivers, municipality staff, hospital staff and so on. Mumbai comes to a standstill. Hari Dada seeks revenge.
Ranjith gives a spin to the classic white-is-pure-and-black-is-evil logic. Here, Ram is bad and Ravan is good. Watch out for the confrontation scenes between Nana Patekar and Rajinikanth. They are total paisa vasool. Hearing Rajini speak in Hindi and Marathi at times will be a delight for his fans.
Special mention should go to Easwari Rao (as Kaala’s wife, Selvi) and Anjali Patil (as Puyal, the girlfriend of one of Kaala’s sons). You will fall in love with their characters. The theme song, which, by now, is hugely popular is where Ranjith stamps his brilliance as a writer and director, carefully feeding the appetite of Rajinikanth fans. This would be remembered as one of the best climaxes in a Rajinikanth movie. Ranjith owes to his excellent technical crew (cinematographer Murali, music director Santhosh Narayanan, editor Sreekar Prasad and art director Ramalingam) for helping him visualise and deliver this 51% Rajini-49% Ranjith movie.
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Gun Movie Cast
Genres : Thriller
Actors : Nayanthara. Saranya Ponvannan. Yogi Babu. Mottai Rajendran. Aranthangi Nisha
Directors : Nelson Dilipkumar
Country : India
Duration : 2h 10 Mins
Quality : CAM
Released : 2018
IMDB : 6.6/10
Nayanthara plays the titular role of Kokila who is forced to enter the drugs business because of unfortunate circumstances in her family. Initial release: 17 August 2018 (India) Director: Nelson Dilipkumar Music composed by: Anirudh Ravichander Producer: Allirajah Subaskaran Production company: Lyca Productions
Kolamaavu Kokila Synopsis: A young woman takes up drug peddling to make money for the treatment of her mom, who has cancer.
Kolamaavu Kokila Review: The first time we see Kokila (Nayanthara), the protagonist of Kolamavu Kokila, we see her asking superior about her raise. But he indicates that she should give him a different kind of raise so that he can take her case with the general manager. Her retort is one worthy of a mass hero, and it works mainly because it is Nayanthara who is delivering this line. It is the Lady Superstar’s ‘Unmaya sonnen’ (Baashha) moment.
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The film is an out-and-out star vehicle that keeps giving its star whistle-worthy moments. And most remarkably, it manages to stay true to its genre – black comedy – and ensures that the script comes before the star.
Kokila’s family is your ordinary lower middle-class family. Her father (RS Sivaji) is a security guard, who considers even let his daughter discuss personal matters at his workplace – the ATM. Her sister is a college-goer while her mother (Saranya Ponvannan), a strong-willed, practical housewife, is the one who runs the show in this house. But when they learn that she has lung cancer, they are crushed. Worse, they will need at least ₹15 lakh for her treatment.
There is a subtle women empowerment message in this set-up. When her mother is resigned to her fate, Kokila asks her if she has chosen to be so because she is a daughter. And this provides her with the impetus to ensure that she earns the money required for the treatment. In fact, it is the women who call the shots in the film. When a murder has to be committed to save themselves, it is Kokila’s mother and sister who step up to the task even as her father turns into a wimp. Even Guru (Saravanan), the cop who is after them, is controlled by his wife.
But Nelson doesn’t make Kokila get into the drug-peddling business immediately after her initial encounter with drug peddlers. She goes through various channels seeking help, and none get her any further. We even see her meeting a rich man, who wants her to be his paramour. Thus, we never question her decision; in fact, it only makes us empathise with her decision wholeheartedly.
He populates this world with colourful characters, like an underling who gets too emotional, roadside Romeos (Yogi Babu is in form here) who is a subtle dig at the stalker-ish heroes of Tamil cinema, a drug dealer who likes to use cringe-worthy metaphors, and so on.
The film turns even more darkly comic in the second half once this family of simpletons also is forced to get into the ‘business’. It is all very hilarious and quite enjoyable, however, after a point, we begin to feel that the plot is running around in circles. Plus, we never get any indication of the cunning Kokila displays. She even does away with the men who she sees as a threat. We get she is ‘breaking bad’, but to this extent is something that the film never convincingly answers.
But the filmmaking is top notch, and displays an eye for tasteful aesthetics – shabby-chic settings, Sivakumar Vijaya’s gorgeously back-lit frames, coordinated costumes, even one-eyed tears… The use of songs recalls the approach of Vignesh ShivN – they take the narrative further even as they help maintain the playful tone of the film,and ensure that things never turn too dark.