A film that is set in a restricted time period is like a short story. You aren't allowed to sprawl out. It has to be contained and a complete universe in itself. And director Lokesh Kanagaraj deserves full marks for getting that screenplay formula right. 'Kaithi' is a taut, ticking-clock thriller that leaves you gasping for air.
'Kaithi', centred around the events of a single night, is everything Kamal Haasan's 'Thoongavanam' could not be.
Lokesh Kanagaraj doesn't waste any time leading up to the premise - a sort of a 'reverse' drug heist. The villains of the film fight heaven and earth to recover their drug stash worth Rs 840 crore which the police have in their custody. Everything is revealed to you in bits and pieces as you travel with Karthi, Narain, a precocious lad, and a lorry carrying around 40 sedated policemen.
"Inga enna ya nadakkudhu" - Dilli (Karthi) and every other non-criminal character in the film wonders what quagmire they have gotten sucked into. They are never told the entire story. Neither are we. But we continue. We don't really have a choice like them.
Lokesh does a clever intro build-up for Karthi - 20 minutes into 'Kaithi', there is still no sign of its lead star. We are told he's out there - an unidentified person who never leaves the shadows of the night. It's worth the wait though. When Karthi makes his first appearance, it's as Paruthiveeran, not Dilli. Cue wolf-whistles.
To call Karthi's performance brilliant would be an understatement. Right from his chappals, the big patta on his forehead, the veshti, the thick beard, Karthi nails Dilli, a rustic 'kaithi' who has just been set free. He communicates with his eyes and downplays his expressions so effortlessly. He shines in the 'appa' sentiment portions with his emotional monologue even if the back story is not all that convincing. I wish his character was written with extra shades of black. The badass "You don't know what I was doing before going to jail" dialogue left me wanting for more.
Also, welcome back, Narain.
READ INTERVIEW | I hope 'Kaithi' opens more doors for me: Actor Narain
It's a known fact that the director likes to populate his films with as many people as possible - even in a one-night story. There are dozens of cops and many dozens more of the bad guys who keep popping up like a hydra head.
The bad guys are everywhere in 'Kaithi' - like drug-crazed zombies you hope not to encounter on a highway. And by everywhere, I mean EVERYWHERE. It's like a never-ending obstacle course - you clear one round only to encounter meaner baddies. And the difficulty level gets amplified each time. This is not one for the faint-hearted.
I could not help but compare the antagonists trying to break down the door of the colonial-era police building to the last scene of Sujoy Ghosh's short film 'Ahalya'. The claustrophobic setting, the desperation of the bad guys who are raging to get inside...even the colour scheme of the scene is similar.
'Kaithi' moves between four to five different settings throughout the length of the film - and it never gets too much. An admirable feat.
Like with any film that involves a journey, the characters undergo some sort of change by the end of it, even if not major. The equation between Narain and Karthi is a perfect example of this.
To the film's credit, they go beyond the good cop, bad cop template. You have scared policemen, degenerate ones, crooked cops, and few conscientious police personnel too...The character I rooted for was the lowly constable (George Maryan) who overcomes his inhibitions and proves his mettle as a fearless, resourceful cop.
Some of the VFX portions and certain scenes do throw up the 'how on earth did that happen' question? But Lokesh Kanagaraj does not give you the time to care about logic.
Sam CS’s background score doesn't just add to the narrative - it is a narrative by itself in several scenes. The bgm can give 'Vikram Vedha' a run for its money. The placement of 'Jumbalakka Jumbalakka', 'Aasai Adhigam Vechu' and other classic songs is a masterstroke.
In my opinion, 'Kaithi' had more 'mass' moments than 'Bigil'. Even the villains get heavily stylised sequences and multiple slo-mo shots. The supporting cast of 'Kaithi' also get their 'apna time aayega' moment to be the 'hero'.
'Kaithi' cinematographer Sathyan Sooryan has the best canvas to weave his magic - the night. And he exploits it. The fire sparks, the rolling shots of the minivan, followed by the lorry, which is being chased by another vehicle, and oh, Karthi's handcuffed wrist rising from above all the bodies atop him - all are just delightful to see.
'Kaithi' throws up an interesting binary throughout - of confinement and liberation. Karthi who was jailed for a decade is finally out on that fateful night after serving his sentence. Karthi's character initially restrains himself from becoming involved in the action but when he does get into form, he explodes. Like he does in the stunning climax scene. Pure steroids. (There are more instances but no spoilers!)
The movie has no hybrid vehicles or arms like in 'Mad Max' (we have just a lorry, a school bus, a tempo van, and a Terminator-style weapon) yet 'Kaithi' has the same energy, the same madness and the same stakes of life and death.
It's just not the junkies who are crazed in 'Kaithi'. The maniacal energy that gets into George Maryan when he wants to deliver a strong anti-drug use message, the corrupt cop who wants to throw a rock at Narain's head - everybody is drugged!
'Kaithi' is a high-octane, adrenaline-producing true-blue commercial action film with a big star and an even bigger script. As Kamatchi informs Dilli: "Ippo ellam kadha nalla irundha dhaan padhame odhum" (content is king).
Film: Kaithi Director: Lokesh Kanagaraj Cast: Karthi, Narain Rating: 3.5 stars |