A spectacle of a movie and the return of a superstar
the backdrop, we see
Kaala’s fight build in stages of loss, sacrifice and ultimate victory.
Pa Ranjith also references Kaala Karikaalan — the deity who guards villages and is offered non-vegetarian food and alcohol in tribute. Kaala’s son is named Lenin.
These are all details that ensure the story is rooted in Tamil culture. The Tamil accents are strong and authentic too.
Parts of the dialogue ring out loud in the theatre, giving the film the crowd-pleasingness required for a commercial hit. When Kaala says, “Black is the colour of labour!”; when he slams government; when he sits there and repeatedly ignores an ‘important’ man, he shows what attitude is. Producer Dhanush had it right; there were moments when the whistling wouldn’t stop.
A powerful hero needs a powerful adversary and Nana Patekar’s Hari Dada is just the man for the part.
He is casteist and contemptuous; a down-to-thebone bad guy. The music scored by Santhosh Narayanan works wonderfully and adds to the drama to the film. The occasional use of rap is particularly effective.
Sadly, Pankaj Tripathi is given little to do; as is Huma Qureshi, who plays Kaala’s first love.
This portion of the film feels like an extension of Kabali, just not as good.
When the two sit down to speak of the past and future, it feels forced; their relationship through the film feels like it’s been dragged and dropped in from somewhere else. All in all, though,
Kaala works really well. And if you’re a fan of Rajinikanth the superhero, you will love it.