The climax also doesn’t deliver the emotional blow that it should. While some of the scenes work individually - be it as mass moments or poignant ones, the film does not come together as whole. The director either wants us to hoot and whistle looking at the Superstar’s style and charisma, or tries hard to get us emotional. The main problem with Kabali is its jerky tone. Ranjith is successful in giving a new shade to the Superstar - vulnerability (this is that rare Tamil film where we feel scared for Rajni’s character), but the film is engaging only in parts. It is more a director’s film, and that is both its strength and weakness. The pleasant surprise is that the film also offers him a chance to explore the actor in him, and he aces the moments when he has to act pensive.īut Kabali is really not a typical Rajini film. With his signature style, he gives fans what they expect from him. The jadedness that we saw in Lingaa has been replaced by a renewed vigour. And by choosing a young director like Ranjith for this film, Rajinikanth, too, seems to have realised this. The best thing about Kabali is that it does away with the ghost of Lingaa, which showed that the Rajini formula isn’t as potent as it was before.
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