When Gomathi (Prithviraj) is asked to render a monologue by the Swamigal (Nassar), he does that with aplomb, vigour and a rare devotion to the art of theatre (the trailer gives you that, for your benefit). When the same is asked of Kali (Siddharth), he does a different interpretation of the piece, coming up with a different inflection altogether. And that is (or should’ve been) the crux of ‘Kaaviya Thalaivan’ - sheer talent versus inimitability.
A period musical from director Vasanthabalan, the movie is about the Tamil theatre culture prevalent during the times of colonization. Well, ‘times’ could be a bit puzzling, since the language used in the movie doesn’t particularly date back to the period (or maybe that is a conscious move). The language shifts from poetic (on stage) to colloquial and keeps alternating between the two.
Driving back to the main plot, Swamigal is a teacher of fine arts in Madurai, and theatre is his primary concern. The two promising disciples, Gomathi and Kali, diametrically opposed in character, are both gifted, but the definition of ‘talent’ becomes crucial here.
Kali is extremely nice, and Gomathi is, well, human! Kali is all things genuine (a tad too much), the improviser, and maybe even the rebel at times, whereas Gomathi is the hardworking, less innovative and disciplined one. And he’s forever under the threat of everyone around him nurturing a predilection for Kali over him. Predictable? Very. Jealousy, love and other such menaces crafted into the plot are easy to manoeuvre in your brain; a guessing game made easy.
But that’s only a major concern if you don’t swirl your head around and take a look at other aspects. I can’t remember the last time when the main protagonists were given so much screen space. More screen space coupled with drama (the dramatics too) is a combination to be handled deftly. We’re talking about theatre, a large audience, elaborate backdrops, grandeur, and the characters have to be just as grand. And fortunately, that they are.
What you’re in for is a high octane drama (at least in the beginning), with 14 songs that include 2 minute-short pieces as well. So stay away if you’re not into theatricals or musicals. That said, the actors have to be playing ‘larger-than-life’ characters on stage, and that they accomplish to a large extent.
Prithviraj shines throughout as the vulnerable yet innately fierce artiste. Among all others, his characterisation is the one that’s easy to get. Siddharth plays a seemingly straight-jacketed role, but in effect, his depiction becomes more complex, starting with his ideals. Nassar, who plays a gargantuan (in effect, not in person) master of the art, pulls off his part with ease, as usual. Vedhicka keeps up with the standards, though her character is sketchy as well. Thambi Ramaiah graces many frames, but neither the humour in the film nor any antics try to rise above the plot.
Rahman’s music exudes just the right charm for the movie, sticking to the genre. It’s not the excess of songs that makes us roll our eyes, but the fact that a sturdy plot couldn’t be made gripping. Crisp editing and beautiful art direction work well for the movie.
Going by the genre, this is a great attempt; at least it shouts out hoarse that it’s a period musical, so you can make the choice. The performances, and a plot that isn’t runny or wandering, great music and a visual treat - nod nod! Plot, subplot - ahem ahem. Yes, there is oodles of histrionics, but then again, as Sivaji Ganeshan once said, when you’re in theatre, you’ve to make yourself visible to the last benchers as well. So it has to be big. 'Kaaviya Thalaivan', in that respect, is big, despite the no-thrill scenarios.
So clap away for the loud heroes, louder emotions, and even the extended vowels at the end of sentences, for it does feel like 'all the world is a stage' in there!
Rating: 3/5