Now that Kabali is out in the theatres and the fracas around it has settled down, people have started talking beyond the gargantuan hype surrounding the movie; and the feeling seems to largely be mixed- bordering from bafflement to disappointment. And a handful of the die-hard fans of Rajni seem to crying out foul, at the not-so-flattering air inundating the movie.
A marketing blitzkrieg carved out of planes plastered with Rajni’s face and silver coins forged with his impressions, can only go as far as kindling the curiosity of the hoi polloi, to check out the movie over its opening weekend. What transpires in the dark of the theatre, as the movie starts to interact with its audience is far removed from the hype held in the painted plane; that handheld them into the theatre in a frantic spell. The final taste that the chocolate leaves in the mouth is completely independent of the celebrity in the advertisement and the expensive foil wrapping it.
Honest marketing campaigns as they come, achieve the middle ground between preserving the true core of a product, while attempting to augment its reach. When the product rolls out, they manage to create a positive synergy to firm up its equity. This is probably where Kabali seems to have slipped.
Marketing is not an elaborate artifice, but a propaganda with a fiduciary angle to ensure an honest positioning of an underlying product. Hollywood employs this to great effect. Take for instance the case of Robert Downey Jr, easily the biggest star of this generation. The marketing campaign for a simple little movie starring him called, The Judge was diametrically different from the scale and tone of his Avengers movie. It was positioned as an emotional- court drama with a personal conflict at its heart. When it released the audience didn’t feel deceived, as it catered to the niche it was made for who exactly knew what to expect from it. Imagine their plight had they gone in expecting an Ironman kind of a movie, to only find a vulnerable Downey Jr( sans his Tony Stark quirks) reconcile with a grumpy father in the backdrop of a lackadaisical small town.
Coming back to Kabali, going by the two teasers that went viral to the numerous promotional initiatives creating the endless halo around the movie, one thing was clear. They were loudly reiterating the movie to be a quintessential Rajni fare with celebratory accoutrement on the lines of a Basha or a Annamalai. There was not an inkling about it being otherwise, as the color and scope fashioning the imagination of the prospective ticket buyer were far removed from an experimental movie that was not run of the mill.
About the countless memes doing rounds about feeling let down by Rajni not playing his larger than life self, that firmed his stratospheric stature. We go to a circus that touts the jumping through the flaming hoops by its exotic tiger as its flagship act. Suddenly the tiger wants to juggle like the monkey, much to the crowd’s bafflement. The attempt as noble as it is, wouldn’t sugarcoat the collective disappointment of the audience that had paid to watch the tiger’s deft defiance through the rings of danger.
Evaluation of a movie from the standpoint of the income and expenses of its producer isn’t an organic assessment of the taste it leaves, lingering in the minds of the audience as they step out of the theatre. For movie making is an art form that thrives beyond the jurisdiction of commerce, the flourish of which doesn’t depend on the coffer of the investors alone.
Kabali to me is an overpriced cola without its fizz, the fizz people were conned into paying for in hordes. I would anytime suggest a helping of Annamalai over the trivia of a painted plane carrying wealthy people masquerading as Thalaivar fans to an uninitiated person; to understand the aura of the phenomenon called Rajinikanth.