Director Pa Ranjith By the time the first song in Kaala comes on screen, Pa Ranjith skillfully establishes the conflict in the film. While on surface the conflict is about the right to property, as one digs deeper, Ranjith taking a leaf from Godfather, sets up a world where the aging don, Kaala, guards Dharavi against upper-class politicians with his righthand man-cum-elder son, while his younger son attacks the same problem through a liberal framework with his more efficient girlfriend. To further drive the point home for the Tamil audience, Ranjith names the relatively subdued younger son, the name of a Soviet Revolutionist and his elder son a Tamil name. Ranjith thus establishes early on that the film is going to talk not just about land politics with race and colour as extensions, but also an inner conflict as to how to approach the common problem. As the film progresses with class conflicts on one end and a subtle and effervescent love triangle at the other end, it’s
A Film sometimes speaks for itself and sometimes becomes a chameleon adapting to the questions you pose at it.