At the first look Kaala reminds me of Mani Ratnam’s 1987 Nayagan. Loosely based on the life and times of a Tamil don, Varadarajan Mudaliar, who as a boy runs away from his home in Tamil Nadu to what was then Bombay, Nayagan talks about the struggle of Tamils in the big city. Rajinikanth’s Kaala, helmed by Pa Ranjith, also centres on a Don, who leaves his hometown in Tamil Nadu to settle down in one of Asia’s largest slums in Mumbai’s Dharavi. He becomes an underworld Don to essentially take care of his Tamil brethren. Seen as a do-or-die movie for Rajinikanth — whose last work, Kabali, evoked a lukewarm response from critics and even his fans – Kaala also comes at a time when the superstar’s popularity has dipped, because of his rather insensitive utterances on the police firing at Sterlite plant in Thoothukudi in which 13 people died. And his views on the Cauvery waters issue between Tamil Nadu and Karnataka have not gone well either in Bengaluru and elsewhere because he was born in the city and is considered a son of that soil. With a huge star cast of three heroines, Eswari Rao, Huma Qureshi and Anjali Patil as well as Nana Patekar and Samuthirakani, Kaala at 167 minutes is purportedly packed with thrilling sequences and Rajinikanth’s trademark antics.
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