Rajinikanth and the existential underpinnings in Pa Ranjith’s Kabali

Posted on April 13, 2020

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Kabali gives you the feeling that maybe, there is a subconscious to Rajinikanth, and it was indeed aching to reach some sort of a resting place to make peace with the actor vs. star image, writes FC reader Aditya A Iyer.

Pa Ranjith‘s Kabali, starring Superstar RajinikanthRadhika Apte, Kishore, John Vijay and others, is a special film for multiple reasons. Despite the promotional campaign being the stuff of nightmares for other stars, as it threatened the return of ‘the only one, the super one’, the film razed its star’s reputation of the ‘No one can complain when they watch a Rajini film da’ to the ground. It said that even Rajini is human, that even he needs a Yogi for his eyes to lighten up and a Valli to let go of his beard; which is equal to saying that WWF is fake to an 11-year-old. There were extreme reactions. For the first time (at least in my lifetime), people started taking sides with respect to Rajini in a Rajini film, something that would have never before happened with this star. There can’t be ifs and buts when you watch a Rajini film. You just go to the FDFS, get strapped onto your seat for the astronomical Hero-Introduction shots™, the mandatory thathuvams™ sugar-coated as punch dialogues, and the feeling that “Maranam, massu maranam, toughu tharanam, adhukku avan dhaan porandhu varanam”, which featured in Petta, which released much later, was actually written the moment this man was born.

Read the rest of this article on Film Companion, here: https://www.filmcompanion.in/tamil-movies-rajinikanth-and-the-existential-underpinnings-in-pa-ranjiths-kabali-radhika-apte-kamal-haasan/

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