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Actors : Vijay Antony , Anjali, Sunaina,
Directors : Kiruthiga Udhayanidhi
Country : India
Duration : 2h 20 Mins
Quality : CAM
Released : 2018
Actors : Vijay Antony , Anjali, Sunaina,
Directors : Kiruthiga Udhayanidhi
Country : India
Duration : 2h 20 Mins
Quality : CAM
Released : 2018
Kaali is an upcoming 2018 Tamil language action period drama film, directed by Kiruthiga Udhayanidhi, starring Vijay Antony in a Triple role alongside Anjali, Sunaina, Amritha Aiyer and Shilpa Manjunath in the lead role. Wikipedia Initial release: 18 May 2018 Director: Kiruthiga Udhayanidhi Music composed by: Vijay Antony Producer: Fathima Cinematography: Richard M. Nathan
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Oru Kuppai Kathai Synopsis: Poongodi marries Kumar without knowing that he works with the corporation as a trash collector. Once she stumbles upon the truth, she shuns him and elopes with her neighbour, Arjun. Will Kumar succeed in bringing her back? Or does fate have something else in store for them?
Oru Kuppai Kathai Review: Movies that deal with extramarital affairs are not new to Tamil audience. But this film is different, in the sense that it also drives home the point that no job is inferior as long as it doesn’t involve hurting others.
Oru Kuppai Kathai opens with Kumar, a man who works as a trash collector, approaching cops and confessing that he has committed a murder. The story then moves ahead in flashbacks. After several rejections, Kumar (National Award-winning choreographer Dhinesh Master, in his debut film as hero) finds a life partner in Poongodi (Manisha Yadav) and the wedding is fixed. But, there’s a little lock here – she believes he works as a clerk, though her parents are aware of the truth. When she finds out the truth, she’s dejected and distances herself from him. And soon, finding comfort in their neighbour Arjun’s (Sujo Mathew) company, she elopes with him and her newborn. How this incident affects Kumar and his family forms the crux of the story.
Dancers, generally, are good with emoting, and Dhinesh proves this right in his acting debut. He scores in scenes where he expresses his happiness through dance, and also when he’s dejected when his wife leaves him for another man. He should, however, work on his expressions when there’s melancholy involved; he’s just a tad too stiff there. Manisha as Poongodi is apt, and she delivers a measured performance – be it when she shows disgust at the appalling conditions in which she is forced to live, amidst dirty roads and people fighting for water and waiting in line to use the bathroom, or when she finds out that Arjun has ditched her and gotten engaged to another girl. Yogi Babu as Kumar’s friend has little do; in fact, he vanishes when his ‘friend’s’ life is in tatters. George as Manisha’s dad, Aadhira as Kumar’s mother and Kasturi paati fit in well; in fact, the chemistry between Aadhira and Kasturi work well, especially when they both sit down to share a glass of drink!
Director Kaali Rangasami has in his hands a good script, and almost succeeds in narrating a true-to-life story. Mahesh Muthuswamy ably supports him by using the hidden camera technique to make us feel like we are watching a live event unfold. If only the director hadn’t wavered by trying to fit in various elements – the life of trash collectors, how people dwelling in slums find happiness in even the smallest of things, the way the society treats married women who elope, and yes, how friends meet up over weekends to drink, smoke and indulge in casual sex and other clichés – the film could have been even more engaging. While the first half manages to pique our interest, we feel exhausted by the time the film ends because we have already guessed how it’s going to unfold.
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Critic’s Rating:
3.5/5
Kaala Story: A gangster from Tirunelveli, who is the King of Dharavi, fights for keeping the land safe from mighty politicians and the land mafia.
Kaala Review: This time, Ranjith uses Rajinikanth the Superstar to tell his message — land is the common man’s right. The story is simple… Migrants from Tamil Nadu settle in Dharavi and help build it, and run the city. When an evil politician-cum-land mafia don sets his eyes on their land, they revolt. Do they succeed?
Kaala begins with an animated story-telling device similar to Bãhubali, wherein the importance of land and the suppression of the downtrodden by the power-hungry is shown. The film quickly shifts to the present day, in live-action multi-colour (with black being the prominent hue). We are shown evil politicians and land mafia hatching plans to destroy the slums of Dharavi to make it Digital Dharavi and Pure Mumbai (an obvious reference to some of the actual government schemes).
We get a casual, but sweet introduction of the Superstar, as Kaala (short for Karikaalan). However, the pace picks up when it is established that he is the King of Dharavi and no one messes with him. The love track between Zareena (played beautifully by Huma Qureshi) and Kaala initially seems to go the Kabali-Kumudavalli way, but Ranjith is quick to realise his folly and sets up a beautiful dinner scene featuring the ex-lovers, where Kaala clarifies his priorities. Watch out for an amazing performance by the two actors here.
The pre-interval block has a typical masala stunt sequence that is staged on a Mumbai flyover (with some VFX coming to the aid). This scene reminds you of the Rajinikanth of yesteryear. A big treat for his fans. Sparks start flying once the antagonist Hari Dada (played with a menacing charm by Nana Patekar) enters the scene. The interval scene is a scream.
What follows after the interval is somewhat predictable, with Hari Dada seeking revenge and depriving Kaala of his loved ones. But slowly, Ranjith brings in his style of filmmaking. He talks about how the oppressed continue to be suppressed unless they protest against the establishment. Kaala does exactly that. He asks his people to use their body as weapon — telling his people to shut Mumbai down by going on a strike as the slum dwellers in effect run the city as taxi drivers, municipality staff, hospital staff and so on. Mumbai comes to a standstill. Hari Dada seeks revenge.
Ranjith gives a spin to the classic white-is-pure-and-black-is-evil logic. Here, Ram is bad and Ravan is good. Watch out for the confrontation scenes between Nana Patekar and Rajinikanth. They are total paisa vasool. Hearing Rajini speak in Hindi and Marathi at times will be a delight for his fans.
Special mention should go to Easwari Rao (as Kaala’s wife, Selvi) and Anjali Patil (as Puyal, the girlfriend of one of Kaala’s sons). You will fall in love with their characters. The theme song, which, by now, is hugely popular is where Ranjith stamps his brilliance as a writer and director, carefully feeding the appetite of Rajinikanth fans. This would be remembered as one of the best climaxes in a Rajinikanth movie. Ranjith owes to his excellent technical crew (cinematographer Murali, music director Santhosh Narayanan, editor Sreekar Prasad and art director Ramalingam) for helping him visualise and deliver this 51% Rajini-49% Ranjith movie.
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