Not so much a film for a fanboy’s adoring effort to transfer a celebrity back in time – into the potboilers that established and created his phenomenally popular screen character – Petta, composed and directed by Karthik Subbaraj (Pizza, Mercury, Jigarthanda) and published in Tamil, Telugu and Hindi, adheres to the Rajinikanth playbook of yore that’d dropped somewhat by the wayside in the past few decades.
A sprightly, power-packed performance in the 68-year-old lead performer who harks back to his own Baasha times is augmented with high-octane activity, punchy dialogues along with the inimitable swag that divides Rajinikanth by the rest of the planet.
Rajinikanth at Petta He’s in terrain playing with . He strides to it. When measures prior to it, he doesn’t need to push a door open, It contrasts open of its own volition. Similarly in his manner for the iron gates. He uses them for making his presence felt and entering a distance or for obstructing the escape route for his targeted quarries that are foolhardy enough to cross his path.
Rajinikanth’s entry scene captures him bang in the midst of a no-holds-barred activity sequence. He’s knocked down, puts back on his feet, then proceeds to show his infallibility. After his might was established beyond question, we see Kaali, the protagonist, take a boys’ hostel warden at a school at a mountain station’s job. It’s an idyllic campus that’s been overrun by pupils that are unruly. Kaali swings into action to place the home in order. He comes down on the food, stops ragging having a iron hand, and poops a party thrown for faculty novices. In the process, he brings a pupil along with his strongman father’s focus.
The movie then goes to a flashback where Rajinikanth is a rural do-gooder who manages an interfaith marriage in his village, a act which activates a violent backlash. He is seen by the movie’s third act in the guise.
That is obviously an extremely formulaic storyline, however, Subbaraj imparts hefty spin on familiar tropes so as to inject a level of freshness to the proceedings. From its own lead-up and the orgasm – a elongate in all – that springs two spins, with the one so as to make sure that the audience remains interested in what’s hitting the screen. With Rajinikanth in the middle of it all, the manager doesn’t need to try hard. In reality, Petta ends with the protagonist pointing it and loading a pistol. Lovers – since the opening credits admit Subbaraj is himself – will do nothing of this type. And that is what Petta banks upon.
So omnipresent is your megastar in Subbaraj’s uneven screenplay which those plot points which were hauled out of alarming news headlines – in 1 scene a bunch of revivalist goons violently break up a Valentine’s Day celebration, in another a group of hoodlums pounce upon an integral personality after accusing him of this offense of gau-hatya (cow slaughter), both episodes occur in Uttar Pradesh, in which elements of this movie are put – pale into insignificance. Woven into the story are two men in two phases that are distinct – they’re termed Anwar and Malik – and 2 instances of’love jihad’. However much we may need all of this to evolve into a potent commentary on the days we are living in, it does not because there is Rajinikanth out there showing that his multifarious heroic abilities, such as those using a nunchaku, and no way could the world stop .
Sothese flashpoints come and move providing momentary guarantee of a stunning twist in the narrative but Rajinikanth remains on forever… so what chance do the lesser mortals from the cast, such as actors of recognized merit for example Nawazuddin Siddiqui, Vijay Sethupathi and Bobby Simha have in Petta? Precious little. Petta is largely concerning the guys settling scores with one another and the hapless girls paying the cost for several of the manly misdeeds paraded within an overlong vengeance saga which makes just weak, half-hearted tries to allow several lovebirds take wings.
There’s not any denying that the manager’s grip on the moderate is strong and the cinematographer (S. Tirru) along with also the production designer (Suresh Selvarajan) do their best to give the film its diverse atmospherics and apt visual feel. However, the movie’s editor, Vivek Harshan overly enamoured with the onscreen Controls of Rajinikanth to influence is guilty of avoidable actions of omission.
A hour or so into the movie, the hostel warden’s now-reformed pupils paint their love for him about the wall – it proclaims We adore you, Thalaiva. After the personality and the performer merge to a single, the critic’s project gets pointless. So go and see Petta which you missed in his past few releases.