Thursday, September 27, 2018

Section 497

After the judgement that says extra marital affairs are no more illegal, some people are pissed off as they have lost their fundamentals for real. 
how to determine the success of our relationships hereafter ? 
I’m unadulterated , he is adulterated but we both are treated the same by law and justice, how can we be the same ? 
how to make sense of the commitment i invested in my relationship history ?! 
Can the institution of marriage be this less rigid ? 
Can this be allowed to happen ?
What am I being loyal to actually ? 
Has affairs become the new Normal? should we have been careful about the living together trend which made its way smoothly ?
So Men are Allowed to cheat on women ?
So women are left vulnerable to be cheated by men ?
There is always a woman behind every mans success is not a quote anymore ?
The sanctity of the family is allowed to be ill maintained ?
Our children can have ambiguous belongings ?
Has porn and normal life interbred a virtual reality ?
Are we being disrespected ?
How do I value my worth ?
How to prove myself as a good person ?
Do whatever and still be a gentleman ?
What approves me as a husband then ?
so is section 497 no more a part of Mother Nature ?
Dipak misra watches English channels ?
one of the ways to please the almighty god is being discredited  ?
Is it even allowed ? 
So far the relationship issues were contained easily within mars and Venus but now it’s beyond hope ?
Did someone hack the supreme Court ?
Why is the law not interfering in my personal life anymore ?
Zero points for fairy tale love / 1 for all love will lose its spark ??  
How can we be so forgetful of the glory of Spartans, Kshatriyas and Padmavatis ?
So all those Airtel ads, sunrise coffee moments ? Diamonds and high rise apartments were fake ?
In case we are disturbed by any means , we then are Conformists who have misunderstood ourselves as conservative by all means ! The credibility and quality of our life cannot be dependent on number of things that are illegal. 
People wake up in the morning not because it is illegal to wake up late afternoon and things can get complicated if the government approves the morning as the official wake up time. That’s what the government is best at. Complications are proven to ruin the quality of life. 

There is a big world of difference between being a criminal, being immoral and being unnatural. The so called supreme decision is not because the government is becoming more liberal, it’s the something that can’t be much affected that makes the government care about it less and it’s also the other something that cannot be tamed which makes the government give up on it. So actually the government had no hold or scope or nothing to do with this. It was just pretending all this time. Why be bothered ? If the government and its decisions can affect what goes in our minds and the way we feel about things, it is indeed the system we are talking about. There is a cure for this. Made for each other, happily ever after, together forever but first Unplug ! 

Saturday, June 23, 2018

Kaala - A Milestone in Indian cinema.


The usual BGM got replaced with a supercool rendition of the Kabali intro music for the much awaited SUPER STAR title, santhosh makes his mark.





Kaala is a phenomenon, the director gets equal prominence to that of a star actor like rajini. Ranjith debuted in the cult film Attakathi which is more complete than his other works.

Ranjith is certainly unmatched among the current gen Indian film makers when it comes to “mise en scene”. Kaala was a decent  screenplay but once Huma qureshi enters with the kannammaa kannammaa BGM, It felt like it was too soon as she demands attention and doesn't wait for us to get adapted to her character.


It’s not a great song like “mayanadhi”from kabali but it works just fine later once the triangular love drama develops between Rajini, huma and easwari. .

Only the Lenin character ( kaala's son) has the proper character arc in the whole film, he is the one who goes through chaos and transforms internally.




The kaala character is so plain but the love drama between Rajini, Easwari and Huma spices it up well enough soon. So the love portions are very significant in bringing the kaala character to life. It is smart scripting without any doubt.

The movie has good plots but it rushes the audience forcibly into them. We get to see " in the mood for love" type of interactions between Rajini and Huma but their relationship hasn't started to look like an affair or has it already ? we don't know their story yet. It is not awkward but it feels pointless to see slow motions with melodramatic flute in a situation where the audience are impatient to know the story between them.




Ranjith's direction has become a template, or is it what they mean by the term auteur ? whatever , one can’t ignore the pretentious locality boys in his films , its ok to have the typical chennai hair Cut, T-shirts, hiphop caps etc but they are trying too much to replicate a black american Ghetto while the good old gaana songs are still the predominant music of chennai.


  

There is actually a hip hop side to chennai's culture but not like in Ranjith’s films where suddenly a group of boys enter from the left of the frame, perform a loyola college culturals show and exit on the right. We also dont know about locality boys in Dharavi but i know it’s too much, Don't ask me how, i just know it. 😜


The heroine Easwari could be a replica of Radhika apte’s character from kabali.



She was not organic in her introduction but she comes to life soon. 


She is introduced in a lengthy take - camera follow, she guides us thorugh kaala's home and the big family.

Some locality boys arrive to disturb kaala and easwari’s romance and they entertain kaala with various wind mill, air flare and elevator hiphop dance moves continued by a song. (sema weightu ). How cool is that ? the name is Ranjith, i don’t mean no sarcasm, the scene explains kaala’s closeness to his family as well as his neighborhood and community.



Ranjith has an unique perspective which is very essential to film makers. It’s obvious that he wants to make the slum life look interesting apart from the unavoidable cliche elements like poverty, violence etc. 

Previously the audience used to have a fascination for the bourgeois culture 
but nowadays they have become more or less like the popular online film critic blue Sattai Maran. They don’t drool anymore to elite characters and set ups. They don't care what actors, which technicians are incorporated. If the drama is good, they'll take it but won’t fall for any brand image or style over substance.



Same goes to the auteur directors like mani ratnam and other wannabees like Shankar or GVM. People are already sure that Enthiran 2.0 is not going to make any sense. This is the most anticipated break in tamil cinema which Ranjith capitalised on.


He projected himself like another Mahendran (a renowned director), with strong substance and Rajinikanth also backs up that social image of ranjith as a great film maker. But in reality, some section of the audience are not so convinced with Ranjith's film making and it can’t be said that they all are fringe elements. There’s a lot of them.


(F.M Balaji, the proprietor of the famous Fringe elements theory )

It’s obvious that ranjith has a lot of haters. It is one more proof that he is a director with a perspective on the subject he handles. Handling generalised scenes and characters in a normal plot with usual dramas can get rejection but not hatred. To earn hatred, one has to have a specific social perspective.

The Movie starts with Ramesh thilak's risky journalism and ends with the same, thus making a statement that Ranjith owns the movie despite rajinikanth’s stardom. Ranjith is so adamant with his perspective and he never hesitates to make the audience feel uneasy.


In the Opening sequence, Rajinikanth is seen playing cricket along with his friend and confidant samudhrakani (thank god it’s not "john vijay" again this time).



Rajini as kaala then immediately reacts to a red alert situation in the slum. He goes to settle the dispute between two groups in the dhobi ghat , the scene is really good but a majority of the hero worshipping audience had expected a fight scene in there.


The audience cant be blamed because the director uses the intermediate jeep travel for the heroism build ups. This expectation blinds the audience from the interesting introduction of a father and son relationship between kaala and Lenin, the conflict between the two and also the introduction of a gutsy girl who could be Lenin's girlfriend (puyal). But the audience are frank that they are in a theater only for the thrill and the larger than life aspect of rajini. They don’t give a damn about the drama in the scenes and rajini's ability to perform a character naturally.

Ranjith has to continuously battle against the audience's lack of patience while he tries to explain the premise of the film, ie the problem of the people in the suppressed class. Ranjith is not the first one to attempt this but he could be the first one to moderately achieve in it. Especially in a country where it is hard to even explain a not so complicated concept such as caste based Reservation to the other section of the public who just can’t understand it. Politics is not the same for all and we can’t blame the people for it. We can always only blame the system for it.



Before ranjith gets to the problems of the suppressed masses, he wants us to know that there is a life in the slum. The suppressed class has a "life" just like others ,




we get introduced to Kaala, the man in black. Yes he is the life of the slum with the cricket bat and coolers. He is no less than any other person of the society. The slum has a life and it can’t be ignored. kaala cannot be killed. ( 1 ) 


Next comes the problems of the suppressed class,


 Huma Qureshi as Zareena guides us through people's problems, the entire junior artists cast overacts in her first interaction with the people of Dharavi as they list out their problems. This is where the audience start to get bored, the documentary film kind of mood interferes in the expected thrill and rajini fans go bewildered as same as in kabali's welfare trust scenes.


The damage has been done (2) and now ranjith has to entertain in order to reclaim the interest of the audience through the rest of the film and Easwari rao comes for rescue.


While the audience are waiting for the Rajini and nana patekar's face off scenes, Ranjith dares to enagage us in a triangular love set up that happens in kaala's home.




A small sorrow and innocent jealousy grows inside Easwari rao after coming to terms with kaala and zareena's ex affair which serves as the platform for rajinikanth and huma qureshi's flashback presented beautifully in an animation sequence. 



Ranjith has a favouritism for the late 70's and 80's evergreen rajinikanth and it is reflected in the animated scenes.



The fans will definitely fall for it as they did in kabali’s “Veerathurandhara” song montages.


The effort was not massive like in kabali but it works. The storyline has now been revealed to the audience, Kaala and Zareena were so close to a being a married couple, they got separated by fate and kaala has her name tattooed in his hand. She is still there in his heart. The drama gets back to Easwari rao. It’s time to settle things with her jealousy and it provides hell a lot of scope for thalaivar's amazing acting.



The damage (2) unfortunately continues with a dinner scene between kaala and Zareena.


Ranjith uses one whole song to explain us  that " even married men never get over with their ex affairs" but now in the next scene he wants us to believe that Kaala is not that type, kaala loves his wife and has control over his emotions. Ok but again he wants us to get adapted to quickly changed scenarios without proper bridging scenes and emotional graph. Ranjth rushes the plots in bits and pieces that appear to be in flow by santhosh narayan's expertise. The Dialogues become too experimental as Huma was far fetched for rajinikanth's age despite the lame excuse they try to provide for the age difference between them.


It just dint feel right. Maybe she was casted for the bollywood recognition,but Ranjith could have preferred Richa chadda or even Radhika apte again instead of huma quereshi.



We should say Rajinikanth’s overall personality and maturity literally saved the dinner scene from massive ridicule. Eventually the audience gets adapted to the odd pair and gets somewhat comfortable. Now while some more love scenes can be easily added, Ranjith brings in a conflict instead.



To make things unsettled again, comes the Manu builders scene where Huma and Rajini argue against each other. There is no emotional plotting between this and the previous scene but the film is still strong due to the great back to back performances. Huma's idea of allowing manu builders to improve the life of people in dharavai upsets Rajini. He says the manu builders project is nothing but a trap set by the people who worship manusmriti, he is so sure that he knows shiv sena better than her and he also vows to stop the project at any cost. Huma quereshi gets stoned (attacked by a stone) in the quarrel and rajini walks out in style, The bold exposition of the premise and the BGM are exemplary in this portion, allures us for a second watch.

Then things escalate quickly, rajini goes to convey his sorry to Huma Qureshi. They have issues in each other's opinions but instead of trying to calm her down, rajini gets carried away by his self  pride and talks about exhibiting his full rowdism. She gets pissed off and asks him to get lost.


Rajinikanth travelling behind a locality boy in bike gets cornered by the bad guys.



Now comes the popular "vengamavan othaiyila nikka" dialogue from the trailer,



The audience prepares for the goose bumps but his other son Selvam comes with his gang and helps kaala out of the situation. Even Rajini looks stunned at why he is not allowed to fight in this scene.


It can be considered as a good scene if we exclude the misguiding build up and moreover the publicity and promotions kept repeating that scene on tv and spoiled it beforehand. 



The audience saves the excitement for later but the locality boy couldn't wait, he throws a stone on the shiv sena flex print near him on the street,- more or less Cuts to -Rajinikanth watches the boy’s dead body in shock, the other locality boys as usual are committed to the rap culture, they sing a rap to question rajinikanth, to ask what kaala is going to do about this murder.


This is the first surreal touch in the film I can recollect, the rap goes like .."enna panna pora Kaala (x 4)" while the mother of the dead cries and almost faints down. The seriousness creeps in but is let down by the cool action scene which follows where kaala takes revenge on the murderer on a bridge in the rain in an out of control guitar music. (3)


The scene focuses more on the charisma of superstar and very less on the seriousness of the situation. It reminds us that we are watching another sub standard commercial movie. Rajinikanth is in fact a man of old age and so the dummy fight doesn’t impress us. The crew has managed to get the best out of rajini's physical limits. If this was the mass effect that the fans were waiting for,Ireally don’t know what’s interesting in it. Rajini’s fight scenes are over since Batsha. He is still making rounds only for his soulful acting.


Now that Kaala has shown his full rowdism, everyone in the slum goes back to their normal life. Ranjith tells the audience to move on and not to sulk in that boy’s death. It’s not because Ranjith lacks the understanding about people's emotions but as said before, Ranjith loses it all in his below average emotional plotting despite having the drama and required elements. I thought maybe that’s the routine life in slums, suffering is permanent, people have to keep moving on for survival, so ranjith would have just let it pass but the whole film is clearly lacking something. The director never gives time for actual emotional payoffs in the film and so there’s an overall downfall in the script. Mani ratnam would never do this mistake even though he does different other kinds of varieties of serious mistakes.

Like we would in a horror movie, where there s definitely some paranormal entity in the house and we all wait for it to appear on screen, Hari dada's presence had been there throughout the film from the beginning.


Ranjith holds his stocks for a long time and finally sells them for a great profit. Hari dada enters close to the interval 

 Now the audience start looking for the larger than life scenes and ranjith has to deliver it and he doesn’t miss a thing. Ranjith impresses the audience by bringing back the flavours of a trademark superstar film.


The nikkal nikkal scene before interval where Rajini forces nana patekar to ask permission to leave the slum serves the essential leverage for the typical Tamil cinema interval.

The movie becomes more organic after the interval. The scene after the anniversary song brings the best out of rajinikanths’s acting in the movie. One of the kaala’s sons wants to leave the slum with his wife and kids as they feel developed enough and “democratic” enough to start living in a decent and better neighborhood. But kaala makes them stay back as he feels his sons should be responsible enough and “socialistic” enough to stay back and help the others in the slum to develop too. It’s a challenging situation for a father and Rajini experiences it. It’s interesting that Kaala is super drunk while he is doing all the preaching. None other than Rajinikanth can perfectly work out this scene.



A voice in our mind says “What a wonderful sce...” and even before the voice completes its sentence, comes an equally bigger challenge. The police arrives to take kaala to the station regarding the murder on the bridge (3). How many challenging scenarios can a drunken man face in a single sequence? unexpectedly the police station scene is a major treat to the fans. It reminds us the magic and the terrific mass appeal of superstar. Nana Patekar’s ghostly presence and super star’s born for the silver screen attitude makes time stop for a moment. These actors are so experienced , they don't have to bring it on their faces, they create an aura around them. 

This is like the scene in thalapathy where the self righteous, law abiding Govt officer Aravind samy watches Rajini do all the talk, Here we have Nana patekar watching Rajini from a distance, he is extremely self righteous. While aravind samy represented the system, nana patekar thinks he is on the side of the God. The bigger system.

Then comes the godfather moment of the film, kaala’s wife and his son Selvam dies in the accident planned by Hari dada. 





Ranjith gets defenitely inspired by Godfather which was evident in the finishing touch of Kabali. Maybe he thinks that a character becomes epic only when it dies. (4) 
The Lenin character scores more than kaala in this scene, the director wants it that way because this is where Lenin realizes, transforms and changes his ways in the fight for dharavi people’s rights. Now the screenplay is focused on taking us to the next set up ( Kaala- Hari dada’s biggest face off),  but this time Ranjith cares to show a complimentary bridging scene of kaala talking to his grand kids with a fractured hand and neck. Kaala regrets for being drunk that night as if that’s the reason for the huge loss he faced while the audience knows that Kaala was not so pathetic that night, he was rather cool and had things in control despite Hari dada’s power. The accident happened because hari dada stabs on the back which is improper for the standards of a war hero or a dignified gentleman. It was an unexpected ugly move by the villain and Kaala’s carelessness has nothing to do with it. Lord Rama shot Vaali (the monkey king of kishkintha) with an arrow while Vaali was unaware. Does it mean Vaali was careless ?.



So it becomes an unnecessary confession from kaala to simply spice up the lifeless bridging scene. Kaala's family, the next generation, were previously forced to stay back unwillingly as they dint have the maturity to understand kaala but now they totally understand what he was trying to explain as they understood the enemy (Hari dada - the system) and his motives clearer now.
Anyways Ranjith wants us to get over with it.



He carries us and runs to the next big set up,
The hero-Rajini goes to the villain’s home after his wife and son are murdered, drinks water and talks selfishly about only himself. What !! ?




Yes that’s what the other critics seem to have perceived from that scene. Throughout the movie we saw the director  had good control in the scenes but was in a hurry in the transitions.Now this whole scene has been rushed in a hurry and it appears stupid for a major section of the critics and reviewers.  Because we expect Kaala to be in a vengeance mode but he sits and listens to the villains heartless apology. obviously kaala doesn’t accept it but why is he even there if not for vengeance ?


The scene needs extreme detailing but Ranjith is not so committed in detailing the complicated areas of the almost three hours film as much as he is committed to the hidden political symbolism’s and clues that doesn’t even catch our eye sight unless we pause the moving frame.
Kaala is in fact a man born in a low caste according to the system . Even though he woke up and started fighting against it, he can’t fight the already programmed inferiority complex inside him whenever  he faces a person belonging to a higher caste. It’s not easy and it takes generations of awareness to actually come out of it. Nana Patekar, his goons and the system might be afraid of kaala’s rowdism and his organised strength in the slum society but they will never consider him as an equal person. It’s obvious that Hari dada won’t drink water in kaala’s home but kaala drinks water in Hari dada’s home because he doesn’t want to reflect the sick mentality of the caste system. It is caste discrimination even if a lower caste does that ( ambedkarism).



Hari dada welcomes huma qureshi to touch his feet but kaala avoids Hari  dada’s grand daughter from touching his feet. He prefers everyone to shake hands with everyone. He prefers self respect (periyarism).

But whatever " isms " one might follow, the caste inferiority complex is seeded in the mind, one will still feel inferior apart from ideologies. That’s the major problem of caste discrimination and why it has been taken seriously in Indian politics. That’s why reservation becomes necessary for several generations even after one or two generations might seem to have developed to a middle class society. The director touches all these issues but has no time to detail them and  the main concern is the placement of all these things. This is the scene where kaala meets the villain after the villain had killed kaala’s wife and son. When people are expecting a human condition on screen, Ranjith prefers to talk the political Scenario. The grand daughter of Hari dada is a nice element in the scene but was over used.  Dialogues were a problem too as they were very direct and makes it hard to perform but Nana and Rajini have handled it like a piece of cake.


As said, the dialogues become too straight forward and Ranjith opens a Frank and bold political preaching which has never been done on screen before.



This is the point from which the audience gets divided into fans and haters and the individual political ideologies of the audience plays a bigger part in whether to Like or dislike the film.


Vishwaroopam Kamal Says it’s ok to be a Muslim but one should not be an anti-indian.
It’s a fact that in modi's India, being indian means being hindutva.

Dont ask me how, i just know it 😜

That makes Dir. Ranjith’s open book politics far better than kamal’s Hindutva based politics, no matter how much kamal pretends to be an atheist,leftist, common man etc.




When Hari dada asks kaala to touch his feet, kaala asks Hari dada to touch his feet instead. The same as the scene in kabali where he tells the villain “ Yes I will wear a suit, I will sit legs crossed, you better die if you can’t digest it”.



All that is fine but unfortunately it seems like kaala is not bothered about the villain killing his wife and son. He walks off stylishly saying “stab me on my back if you want” but it looks like kaala is just using the punch line as an escapism while he is leaving the place powerlessly unable to do anything about the man who killed his family.


Nothing much happens after this in the movie, Hari dada decides to bring everything to an end. He wants to destroy the slums, this is what Hari dada had wanted from the beginning whenever he said he wants to make the city clean. It’s a fact that the Hindutva party is highly capitalist even though they behave like conservatives. Capitalism always is neither the left or the right.



The strength of the film is that Hari dada is basically a capitalist and he wants the people of Dharavi to move out so that he can make business in the land they reside on. The problem gets to the next level when Kaala's house and neighborhood are burned down by the villain's men. The people of Dharavi lose everything in the fire.



The premise of the film
 gets totally exposed as Dharavi’s people comes out to stage a great protest, one that has all characteristics of the great and massive marina protest for jallikattu and Tamil rights. There is even a policeman character in the protest sequence who speaks for the people just like in the marina protest. Rajini leads an unexpected protest which is well supported by the " Nilame engal urimai " song as background music. It reminds us all the current protests happening in tamilnadu and is sure the most emotional part of the film except for the section of the audience who are pro government conformists.




The Marina protest has a specialty because it was for the federal rights and freedom of the natives against the central Govt. It was for ethnic rights, an ethnic fight against the totalitarian authority but the one in kaala is the routine "capitalism vs working class" protest even though it looks like raman vs raavanan or hindutva vs dravidam. Kaala preaches the basic communism in a dalit set up, with dalit characters. We can call it a movie about dalitism or communism. Its the same and yes there is nothing new in it except the boldness.


The police man opening his heart in the marina protest.

While Ranjth sticks to the old model, The recent protests all over the world and in Tamilnadu has been the new model which is Capitalism vs the native sovereignty. Marina protest was a conservative ideology in democratic terms but the protest proved itself right and won what it deserved for the natives.

Kaala is recieved by the public as a muti dimensional film about dalitism, dravidam, Marxism and possibly tamil nationalism. The Dharavi protest in the film evolves from anger to fun and then to tragedy just like the marina protest. Rajini looks calm and positive despite the tragedy in his family recently. The "Too soon feeling" was again there in the whole sequence but the song in the background nailed it. More points for Santhosh Narayan.

Nana Patekar gets pissed off and sends one of his trusted devotee to solve the issue and a guy resembling hanuman with a gadayutham in hand walks in the streets of Dharavi. He breaks the jaws of a few protesters including SamuthraKani. It gets very emotional as whatever that happened at the marina protest happens in the movie too.

The police department in kaala commits a lot of anti social activities to dilute the crowd and to spoil the protest just like in marina. At least in the movie, there were some fringe elements from the villain's side who try to incite problems between the dharavi protesters but in the marina protest it was impossible for any intruders to stir up any issues between the members of the protest. as there was no priority there for religion,nationality or caste.




Finally the police ruthlessly attacked the protesters and stopped the protest. They said there were Fringe elements in the protest and they targeted only them. Everyone clearly knows that the fringe or anti social elements were not real as claimed by the police and Government. Even if they were real, they should have been brought in by the police themselves to create panic inside the protest. The same happened in the thoothukudi sterlite protest too.

This is obvious and moreover the director of Kaala has clearly explained it step by step in the movie. After knowing all this and even after acting as the lead hero in such a movie.. Rajinikanth says two statements in the public press meets. ie 1. Police should not be hurt. People attacking the police are anti social. 2. There were anti social elements in the thoothukudi protest just like in marina , they started the violence and it was not the police.

These press meets by Rajini were the main drawback of the 
film "Kaala" and people decided to boycott  the film for Rajini's hypocrisy. It was clear that Rajini is a part of the system which is against the people.


                                                   Rajini as a fringe element in the film "kaala"

The audience are then carried to a Surreal climax where the army lead by hanuman kills kaala ( 4) while Hari dada and his family are happily listening to a priest preaching the Ramayana tale.

Kaala gets shot by bullets while he’s stuck inside a deadly fire. Raavanan’s death is narrated in the voice over. This is not symbolism, this is an open attack on Hindutva. This is political clarity , the vision and vengeance of a highly politicized film maker.

Kaala may have its flaws but it follows the grammar, it sticks to the film language enough to qualify as a proper film and at the end of the day, Kaala is a propaganda film and so it is not right to criticise the craft and techniques of this film. Ranjith also says he is a politician first and a film maker next.The director’s social responsibility and his strong voice guides the audience beautifully. The French auteur film maker Godard would have definitely felt proud. 
As Godard said, the shots and angles are far less significant in comparison to the director’s perspective on the subject. The art form can be violated in order to bring a social perspective about something. There are no rules in film making. Making a movie against the ruling party courageously and handling the censor board intelligently is incredible showmanship. This is a milestone in indian cinema , a mile stone in freedom of speech , that too in a fascist capitalist democracy.

Hari dada who thinks he has won finally comes to Dharavi to inaugurate the manu builders project. He tries to take a handful of soil from Dharavi in his hands and gets shocked to see kaala roaming everywhere among the people. ( 1 ) People start to throw black colour powder over Hari dada and all over the place. Entire Dharavi celebrates in black resembling the Raavana kingdom according to the director. Then the celebration includes red powder and blue too denoting the three ideologies. Red - Marxism, black - dravidam and blue - dalitism. 



The Climax clearly says that Raman might have killed Ravanan but the land will always remain as Ravana land. The disappointment in Nana patekar’s face was priceless. He has done his part beautifully as an actor b
ut the director should learn that its not practical to bring everyone under one ideology. The people have to decide for themselves. While some people are surprised how rajinikanth chose to work under this dalit director with the dalitism ideology, it could also be true that it is no big deal for Rajinikanth to do so as Dalitism is not an effective tool as it may seem to combat fascism.


Fascism needs a totalitarian authority, to achieve that they need a big nation with democratic as well as nationalistic sentiments so that the people can be fooled into capitalism easily. Dalitism is not considered a threat to the system because it is like a lifeline that connects the entire nation. Maybe that’s why the RSS and Hindutva india acknowledges Ambedkar as a great leader. 



If Brahminism and hindusim is all over india, so is dalitism. It could turn out to be just another dummy opposition like communism or a controlled opposition like the congress in this country. It is not a real threat to the nationalistic hindutva system like Tamil nationalism or independent Kashmir or the Dravidam movement. If it is not a threat to the system, then it wont get us Freedom. Dalitism doesn't challenge democracy and so it wont be a challenge to capitalism too. Dalitism is also trying to persuade all the suppressed people into one ideology. Why shouldn't the suppressed people have different ideologies to face their battles ? Organised strength is important but it is pointless and stupid to try to bring all the suppressed castes of india under one name called dalits. Especially in tamilnadu, people don't have a connectivity to dalitism as their caste or communities doesn't identify them as dalits. The suppressed castes should be encouraged to protest and fight for their rights under their very own caste identity because they are only the Suppressed castes and not really inferior castes. 

Dravidianism managed to attract the people but it
couldn't withstand as Dravidam is not a true ethnicity. It appeals for some and doesn't appeal for some.

Marina protest worked out because People were able to identify themselves and organise themselves easily as Tamils. The massive crowd happened so effortlessly. That's how LTTE and Eezham was formed, how tamil nadu got its name, its rights and everything. 

Marxism, as said before is not much different from communism and Dalitism. We dont need to separate them, dont have to use different colour for marxism and dalitism in the movie. Its just too fancy and not helpful. It is not post modern as it seems. Feminism works well as the modern and far better version of communism. Anyways 
It’s a waste of time trying to bring everyone under  a perfect mixture of Dalitism, dravidianism and Marxism. It won’t happen. Some people follow only religious ideologies which cant be blamed either. We cant behave like only atheists are intelligent, we cant pretend like all black people are suppressed and all the fair skinned people are fascists, We cant say that rejecting the caste identity will destroy casteism or leaving one's ethnicity behind will cure racism.  That's all just fancy talk. Ranjith is someone who never gets into detailing. Its when one gets to elaborate his ideology and starts detailing, he will get ridiculed. Ranjith simply keeps repeating "Caste is bad" and gets the applause. Periyar and Ambedkar dont have to be the only hope. Its a shallow perspective. Each and everyone of the suppressed don’t necessarily have to stick to these two. Let’s give space for new ideologies too. Our enemies are taking new shapes and they are coming strong at us everyday. Why should our solutions be from a single fundamental perspective ? , Whatever maybe the case of Ranjith’s ideology, he is a man of action and so is Rajini, that’s one reason why Rajini fans are also supporting him in his political career even before knowing his ideology. But Ideology is all that matters when the action starts. Wrong ideologies will lead to wrong actions and wrong consequences and finally deliver wrong results. We should also stop branding Ranjith as a Dalit film maker and as a Dalit leader. 

We need to provide him proper space to be open for new knowledge and to have acceptance to other “isms” and Rajini of course could have avoided his political press meets close to the movie's release.
The film deserved a good run.



People may also not like the movie for the language. Nana speaks half his dialogues in Hindi, Rajini’s gang speaks in the Dharavi slang and huma qureshi talks English too much. The connection with the audience could have been a problem but the movie was not slow. The screenplay was in fact too quick and impatient. It’s a totally enjoyable film despite the small errors.

If someone doesn’t like the film, either the movie was against their political ideology or they have no taste in movies. The Audience expected to see all the songs in the album visualized but Ranjith skipped most of the songs. At least the End credits could have used the "poraduvom" song instead of theruvilakku. 



This might be the last good movie from actor Rajinikanth. His next film directed by karthik subbaraj has Anirudh for music which is awesome but Vijay sethupathi for villain ? was it a real need or a promotion stunt. Feels like the movie loses its credibility already but its too soon to judge. Anyways both Kabali and Kaala qualifies as good Rajini films, far better than Shivaji, Linga, enthiran etc.