Expectations finally came to an end when the movie starred by the most massive star of the sub-continent released on Friday(July 24, 2016) and fetched an unusual feeling among his fans but has led to resurgence of an actor Tamil cinema lost two decades ago. Thought of penning a viewer's note for #Kabali since left the screen after FDFS as the movie really has revealed several truths among the fans.
Ideological Aspect:
The skeleton of Kabali's script is completely designed based on the problems faced by Tamils who migrated and were made to migrate to Malaysian peninsula during the colony rule in the South East which sustains even till now in many parts of the country. However, the deep thoughts that are embedded in the movie are completely relates to caste discrimination and communal wars that existed or exists in the North and South Arcot regions of Tamil Nadu namely the current districts of Kancheepuram, Chennai, Chengalpattu and Tiruvallur. When Kabali reveals his origin as Tindivanam it reminds the directors previous movies and the geographies of them.
As how Ranjith had portrayed castesim in his previous ventures Madras and Attakathi, the same way he had hid the ideology inside the script which runs throughout the movie till the climax where Kabali says 'Naan Aanda Parambarai Illa... Aala Poranthavan Da' which tries to depict the upliftment of dalits over the so called aristocrats. The movie is an upgraded version of 'Madras' as both have the same central context with different plots. In 'Madras' communal war between two different sections of society was disguised in a local-self government politics, while in Kabali the disguise has been replaced with gang war along with a strong content on Malaysian Tamils being suppressed. Even Ranjith's Attakathi too had a disguise of a guys love stories, but the script had caste based content here and there. But the intensity of communalism in Madras and Kabali are really high which shows how the aristocrats suppressed dalits.
Comparing Madras and Kabali would result in isolation of a lot of similarities in both the movies. Dialogues like, 'Unnalam Veetukulla...', 'Tamilan Naadu Vittu Naadu Varum poth Jaathiya eduthutu varaan' and the place where he justifies for his outfit quoting Gandhi and Ambedkar that they changed their outfit to show the equality among human being. Similarly, the script also has some pecks of corporatisation like the sequence of retro period where Kabali leads the crew to fight for their salary with the rubber estate owner and in another point where Attakathi Dinesh tells that people are ready to buy cola that is produced at just 50 paise for a price exponentially higher than that. The gesture is that Dinesh's name is 'Jeeva' in this movie and he speaks communism. A lot of gestures has been embedded in the script like having Ambedkar's photo in 'Free Life Foundation' school and in the climax he compliments Ang Lee, an elderly don on his 100th birthday with a king statue and finally sits on the same chair of Ang Lee after killing Tony Lee to insist that he is the king now. In the first scene, he Kabali reads a book titled, 'My Father Balaiah' written by a Telugu dalit writer YB Satyanarayana, which says that the movie is going to be in this context.
Similarly, there are other kind of cinematic gestures like, without the villian saying any conventional dialogues like 'Enna thotta kaiya naane vettanum', Ang Lee cuts Jeeva's hands but the mood has been delivered well. As a whole it is said that dalit Tamils in Malaysia are suppressed by aristocratic Tamils and Chinese and so the characters were also designed based on that having a dalit Tamil as protagonist and a man of Chinese ethnicity and another one from aristocratic Tamil community as antagonists.
Script Aspect:
From the start the movie moves in a very normal pace without much exaggeration in the sequencing of scenes. The emotional segments of the script has been handled well and has given space to all characters with their personal life emotions like Yogi's childhood, Meena's past, Kumuthavalli's wait for her husband and above all Kabali who becomes the centre for all these entities. As this is gangster movie, the script involves betrayal which even makes the viewer to suspect anyone who appears on screen and this suspicion is well induced by the director's screenplay and the editor's hand work. Without exaggerated fight sequences and high end visual effects the movie completely depends on the script and the characters in it.
Rajnikanth, an actor resurrected:
As said by Kabali after getting out of prison as he returns after 25 years with the same energy and power, Rajnikanth too has returned as a complete actor like how he lived the role in Thalapathy 25 years ago(1991). It is his fans, who killed the actor and gave birth to a super star and now the super star is betrayed by the same great old actor and has resurrected in Kabali. The image of superstar has completely faded out in Kabali and only the actor Rajni accommodates the entire script. From the place where he smiles with naughtiness at his wife after seeing a French kiss of a couple, the scene his eyes intimidates the villian in the climax for every of his property Kabali destroys sitting from there and above all the moments he emotes when realising who his daughter actually is, Rajni just swipes off every reaction in just-like-that. The Rajni who made everyone laugh in Thillu Mullu, made everyone cry in 6il irunthu 60varai, made everyone to emote in Yengeyo Ketta Kural has finally returned giving up his superstar image. Despite many of the fans disappointment, this revival of Rajni is the most important aspect of the movie.
It is Ranjith, who had made such a script after Manirathnam in Thalapathy for Rajni to occupy both as a mass hero and as well an actor of multiple emotions. To be frank Ranjith has did something that even great directors like Shankar, KS Ravikumar and Suresh Krissna couldn't make out. There were some sequences in previous movies of Rajni to enact his emotions like the place where he looses all his property and gets one rupee as return from the villian of Sivaji movie, the place where he completely intimidates everyone with his conjourous laughter in Enthiran and the flashback sequences of Baasha. But, Kabali is a script which has roped in the actor inside Rajni into full form.
Directors Cut:
As said earlier, Ranjith has invested his skill of multi-layered screenplay writing with having family emotion, gang war, communal discrimination and racism all into a single story. May be the acceptance could not be there if one watches the movie once. The movie would attract you if you watch it for the second time with the idea that it is a movie which is contented completely but not just a commercial one.
So Go Watch It Once Again!!!
Ideological Aspect:
The skeleton of Kabali's script is completely designed based on the problems faced by Tamils who migrated and were made to migrate to Malaysian peninsula during the colony rule in the South East which sustains even till now in many parts of the country. However, the deep thoughts that are embedded in the movie are completely relates to caste discrimination and communal wars that existed or exists in the North and South Arcot regions of Tamil Nadu namely the current districts of Kancheepuram, Chennai, Chengalpattu and Tiruvallur. When Kabali reveals his origin as Tindivanam it reminds the directors previous movies and the geographies of them.
As how Ranjith had portrayed castesim in his previous ventures Madras and Attakathi, the same way he had hid the ideology inside the script which runs throughout the movie till the climax where Kabali says 'Naan Aanda Parambarai Illa... Aala Poranthavan Da' which tries to depict the upliftment of dalits over the so called aristocrats. The movie is an upgraded version of 'Madras' as both have the same central context with different plots. In 'Madras' communal war between two different sections of society was disguised in a local-self government politics, while in Kabali the disguise has been replaced with gang war along with a strong content on Malaysian Tamils being suppressed. Even Ranjith's Attakathi too had a disguise of a guys love stories, but the script had caste based content here and there. But the intensity of communalism in Madras and Kabali are really high which shows how the aristocrats suppressed dalits.
Comparing Madras and Kabali would result in isolation of a lot of similarities in both the movies. Dialogues like, 'Unnalam Veetukulla...', 'Tamilan Naadu Vittu Naadu Varum poth Jaathiya eduthutu varaan' and the place where he justifies for his outfit quoting Gandhi and Ambedkar that they changed their outfit to show the equality among human being. Similarly, the script also has some pecks of corporatisation like the sequence of retro period where Kabali leads the crew to fight for their salary with the rubber estate owner and in another point where Attakathi Dinesh tells that people are ready to buy cola that is produced at just 50 paise for a price exponentially higher than that. The gesture is that Dinesh's name is 'Jeeva' in this movie and he speaks communism. A lot of gestures has been embedded in the script like having Ambedkar's photo in 'Free Life Foundation' school and in the climax he compliments Ang Lee, an elderly don on his 100th birthday with a king statue and finally sits on the same chair of Ang Lee after killing Tony Lee to insist that he is the king now. In the first scene, he Kabali reads a book titled, 'My Father Balaiah' written by a Telugu dalit writer YB Satyanarayana, which says that the movie is going to be in this context.
Similarly, there are other kind of cinematic gestures like, without the villian saying any conventional dialogues like 'Enna thotta kaiya naane vettanum', Ang Lee cuts Jeeva's hands but the mood has been delivered well. As a whole it is said that dalit Tamils in Malaysia are suppressed by aristocratic Tamils and Chinese and so the characters were also designed based on that having a dalit Tamil as protagonist and a man of Chinese ethnicity and another one from aristocratic Tamil community as antagonists.
Script Aspect:
From the start the movie moves in a very normal pace without much exaggeration in the sequencing of scenes. The emotional segments of the script has been handled well and has given space to all characters with their personal life emotions like Yogi's childhood, Meena's past, Kumuthavalli's wait for her husband and above all Kabali who becomes the centre for all these entities. As this is gangster movie, the script involves betrayal which even makes the viewer to suspect anyone who appears on screen and this suspicion is well induced by the director's screenplay and the editor's hand work. Without exaggerated fight sequences and high end visual effects the movie completely depends on the script and the characters in it.
Rajnikanth, an actor resurrected:
As said by Kabali after getting out of prison as he returns after 25 years with the same energy and power, Rajnikanth too has returned as a complete actor like how he lived the role in Thalapathy 25 years ago(1991). It is his fans, who killed the actor and gave birth to a super star and now the super star is betrayed by the same great old actor and has resurrected in Kabali. The image of superstar has completely faded out in Kabali and only the actor Rajni accommodates the entire script. From the place where he smiles with naughtiness at his wife after seeing a French kiss of a couple, the scene his eyes intimidates the villian in the climax for every of his property Kabali destroys sitting from there and above all the moments he emotes when realising who his daughter actually is, Rajni just swipes off every reaction in just-like-that. The Rajni who made everyone laugh in Thillu Mullu, made everyone cry in 6il irunthu 60varai, made everyone to emote in Yengeyo Ketta Kural has finally returned giving up his superstar image. Despite many of the fans disappointment, this revival of Rajni is the most important aspect of the movie.
It is Ranjith, who had made such a script after Manirathnam in Thalapathy for Rajni to occupy both as a mass hero and as well an actor of multiple emotions. To be frank Ranjith has did something that even great directors like Shankar, KS Ravikumar and Suresh Krissna couldn't make out. There were some sequences in previous movies of Rajni to enact his emotions like the place where he looses all his property and gets one rupee as return from the villian of Sivaji movie, the place where he completely intimidates everyone with his conjourous laughter in Enthiran and the flashback sequences of Baasha. But, Kabali is a script which has roped in the actor inside Rajni into full form.
Directors Cut:
As said earlier, Ranjith has invested his skill of multi-layered screenplay writing with having family emotion, gang war, communal discrimination and racism all into a single story. May be the acceptance could not be there if one watches the movie once. The movie would attract you if you watch it for the second time with the idea that it is a movie which is contented completely but not just a commercial one.
So Go Watch It Once Again!!!
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