It would be unfair to say that it's Rajini film all the way. Rajini sharing an affable relationship with the students of his school is a good idea, but the execution and the screenplay are not up to the mark. Much as one appreciates the fact that the story is set in Malaysia, the pop culture and the ambience at large are alienating. But the climax portions have lines as laughable as Kabali talking about not wanting to be born as a human ever again. The champion of the underclass wearing a suit not as a status symbol, but to make a statement against the hierarchy, is a fine idea. If Rajini talks like a poetic revolutionary (read the analogy of caged birds) moments before pulling off the first stunt soon after coming out of the jail, his sense of profound (or cinematic) language goes missing after that. They lack in wit they are more about being plain and everyday in tone for the most part. The dialogues of the original version are written by Pa.Ranjith himself. On the other hand, the lack of an ascending anguish especially toward and in the climax is an undoing. Rajini's salt N' pepper look seen for the most part is terrific. This was totally unexpected, considering that the teaser unveiled one of the most intense-looking, gravitas-pumping Rajini in a long time. If the emotional side of Kabali is terrific and enjoyable (especially the subtle expression in the presence of wife Radhika Apte), the tempo goes for a toss after a while. The characterization of Rajini comes with its share of hits and misses. Lack of nativity sticks like a lump in the throat. If the pace is prohibitively slow (thanks to the lack of a sense of urgency shown by a philosophical Kabali), the rigmarole of attacks and counter-attacks do the film in. He has to confront the big fish - Tony Li (Winston Chao) and his accomplice Veera Shankar (Kishore), who both want Kabali dead, just as they had killed his pregnant wife (Radhika Apte).Ī formulaic story line doubtless, 'Kabali' actually has even bigger problems. As soon as he is released, Kabali lets a minion know he is in. Kabali won't tolerate it and this may well result in bloodbath. The situation is potentially explosive because Kabali's bad rivals have been a law unto themselves, minting money from drug-peddling and worse. The film begins with the Malaysian authorities getting into a huddle in the wake of Kabali's impending release from the jail after a twenty-year term. The audiences are forced to empathize with the travails of the sidekicks and all, even as Rajinikanth at times becomes a footnote in the subconscious! As one, two, or more power-mongering desperadoes try to out-compete the indefatigable Kabali, too many unfamiliar faces (learnt to be from Ranjith's previous film 'Madras') get a disproportionate space. This could turn out to be a personal favourite of so many, especially those Rajini fans who like the phenomenal "character artiste" in him.ĭirector Pa.Ranjith sticking to his convictions means such welcome moments are there. And the emotionally ever-so-vulnerable Kabali wonders what that one must have thought about before falling asleep that night, further proceeding to tell the little darling, 'Go, go to sleep'. That motivator-in-chief is waiting to re-enter his life. The long, agonizing wait of the gangster is over. In a gangster film, it's a bit curious (or may be not) that the best moment (subjectively speaking or otherwise) is an emotional moment.
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