This Tamil film is Class but only in Parts - Kara Review

Ajouté : 2026-05-09

[00:00:00]This Tamil film was hyped for a reason, because of its unique approach to tell a hero story. But it's [music] the inconsistency that makes it a one-time watch. So, let's talk about Ka Ra written directed by Vignesh Raja. This film feels different. Be it the way it's shot, the locations they went to, they all look very real. They went out and found those good locations that suit their story. [music] The way the music works, the way they have used the sound.

[00:00:22]There are moments where they have used the rhythm [music] of walking, of banging the door, which becomes part of the music that's playing in that scene to build that tension. The way the film depicts the interpersonal drama between the characters, it's very well written and performed. And those [music] high-tension, high scenes, in those moments you're at the edge of your seat.

[00:00:39]The interval block of this film is a stand-alone moment in itself, just [music] outstanding. I always talk about efficiency in storytelling, and this film is a prime example of that. In the first scene itself, the way the film sets it up, through the actions itself, we are getting to know the character.

[00:00:53]What are their wants? What are their desires? [music] What is their priority? Why in this moment what they are doing matters.

[00:00:59]Where they are in their life. None of this is told to us through dialogue or voice-over, but just through the actions of the characters. And the initial [music] scene itself sets up the whole film for you. We don't waste time in introducing the character first, then the character's family, his relationship, his love interest, then what he does. None of it. We directly jump into it. And the way the story flows, one thing leads to another, and that leads to something else. It's almost like the universe is pushing our characters towards something. Now, in this film, they go for a style which I think doesn't work in its favor. why we have this tonal inconsistency throughout. From the way the film starts, we have a great moment for the hero to show up for the first time. As if the film is giving you chance to whistle and clap for him, something what mass films do. But from that high point, we cut back to a very grounded scene, which is again very well done. But because of these two styles, it becomes a mismatch. And initially that doesn't impact the film, but later on it comes to haunt it. Now, another issue I felt in the film was that the drama scenes and the highest moments felt like two separate films. Not because of the treatment, but how detached they were from each other. Because whenever we are dealing with one, the presence of the other is not felt, [music] and vice versa. When we get into the family drama, we get a whole stretch of family drama. And suddenly it feels like we have forgotten about the whole heist thing. And when we get into the heist, it is so detailed, we get so engrossed into it that we forget about the whole family drama that's been happening. And I think one way to fix this could have been through editing, where you constantly remind of what's at stake.

[00:02:23]When we are in the family drama, him being a thief should be haunting him. He should be afraid all the time that anytime the police will catch him.

[00:02:29]Problem is you never feel that. And when we are in the heist mode, there should be a constant present that what if I get caught? He should be afraid of it that he'll be breaking his promise. That constant reminder was missing. Now, with the villain, the film takes the easy [music] route, which I'm not a fan of.

[00:02:42]Banks are evil. That's it. That for the audience should be enough to understand that they are the villains. And yes, I'm sure there are many instances in real life where that is the case. But in the film, by making it so easy, there is no moral conflict left for a hero to face.

[00:02:56]We know that he has taken a promise that he will never steal again. That's it.

[00:03:00]But he comes in a situation where he has to do it. Now, the way the film deals with it, because the film established banks are evil, we don't care. We want our hero to steal from them. It becomes too simple. There is no conflict anymore. And because of the scenario our hero is in, there is no other option.

[00:03:15]So, when the wife's character tells him that he should not do it, he promised her, it makes no sense because the scenario demands him to do it. And we as audience also are on his side, because the banks are evil. They are purely evil. We should not care about them. He should do this wrong deed. Doesn't matter. If at this moment the film doesn't establish the banks are evil, there is a moral conundrum here. Should the hero do it or not? It may seem that the head of the bank may be evil, but what about the other employees? It's work for them. They are following the rules. What about their family? If a bank is robbed, how will that affect them? Will they lose their job? So, when you bring this layer out, suddenly should the hero do it or not becomes a big conflict in itself. And not just that how he will do it. And I think the film had the potential to play around this idea. But the film doesn't do that and becomes very straightforward. Now, in the climax, the issue of the tonal inconsistency comes into play. Because through the film, we established that how hard it is to rob a bank. But now in the climax, the hero can conveniently do it with ease, as if it was not a big deal at all. And what is the reason behind it? Because it's a climax. So, suddenly all the realistic approach to robbing a bank becomes meaningless, because it is so easy now. Narratively, you can say that before the hero was doing it out of his own selfish needs, but in the climax, he's doing it for everyone. Maybe that is the change that happened. Dhanush is one of those rarest stars who can actually pull off such films. He doesn't carry the baggage of stardom with him. He can play such a flawed character who is operating in the gray area. And I hope this film gives confidence to him as well as others that we can play such characters. We just don't need to play the typical hero character. The father played by K.S.

[00:04:45]Ravikumar, he was so good. The chemistry between him and Dhanush was outstanding.

[00:04:49]It felt like they are real father and son, and the whole drama between them worked so well. I really enjoyed Kalaiyarasan as the uncle. He was really good. But the biggest surprise for me has to be Mamitha Baiju. Oh my god.

[00:05:00]Watching her in Premalu Dude, playing a modern female character, I honestly never thought that she can pull off a village girl. And the way she did it.

[00:05:08]It's a small role for her, but with this film, she just showed the range she has.

[00:05:12]I already knew from Dude the kind of performances she can give, but this just took her to the next level. I cannot wait to see what she does next. She is an upcoming female actor who's going to rule. I feel the big appreciation for this film goes to the director Vignesh Raja. He is an upcoming voice which we want in Tamil cinema, you know, thinking differently, tackling subjects very differently. If you look at it, it is a hero rising to the occasion for his family, a typical story we have seen many, many times. But this different approach and structure to it makes it special, makes it unique. It definitely needs more fine-tuning. I wish, you know, the directors don't have any barriers of, you know, carrying the stardom of the hero. The sooner we get rid of it and focus on the story you want to tell with full conviction, the better. Now, in this video I talked about another upcoming voice from Tamil cinema, Ken, and his latest film Youth.

[00:05:55]Check out the review here. Do let me know your thoughts about Ka Ra in the comments below, and I will see you next time.