Petta functions wonderfully as a supercut of Rajni’s filmography, set to old தமிழ் film music. The Mullum Malarum references abound, obviously – with a name like Kaali, that’s almost a given. One of them comes right at the end and is an absolute beauty. But there are so many others that much of the pleasure of watching this film comes from spotting the call-outs to other films.
In that sense, this film can be slotted in roughly the same category as Om Shanti Om. The craft is visible, but it is the cheekiness that you notice. The film is so cheerfully self-indulgent that you don’t feel like begrudging Karthik Subbaraj his ultimate fanboy moment – getting Rajni himself to recreate for him, his memories of growing up as a Rajni fan.
My favourite is actually one of the non Rajni film references (and there are quite a few of those as well) . The line ‘Naan veezhvaen endru ninaiththaayo?’ accompanies a shot that seems to reference one at the end of Mahanadhi where the same line is heard in the background. Is that a hat tip to his greatest contemporary? Maybe it was accidental, but remember, this is Karthik Subbaraj we’re talking about. But I’m not trying to divine the director’s motives so much as explain how I reacted to the film.
And to be honest, for the first hour or so, this is all there is to do. The story seems to be going nowhere. He’s a fun-loving hostel warden who seems to have developed a soft corner for one of his students, and runs up against another, a prototypical entitled brat who believes he runs the place and finds out that there’s a bigger dog in the pound. But the film seems to be spinning its wheels just on the basis of this premise.
Then suddenly, some semblance of a plot kicks in. The flab all but disappears. This is not a great story, and nearly every character other than the hero gets short shrift, but you can see a degree of competence in the treatment, and the performances cover up for the deficiencies in the script. The filmmaker has not entirely been sublimated by the fan.
It occurs to me that Rajni movies over the past decade or so have suffered from a lack of balance more than anything else. They’ve wanted to tell a story with Rajni in it, but in their desire to accommodate the star, they’ve added so much hero-glorifying flab that the output suffers as a result.
Pa Ranjith went the other way by situating Rajni in the middle of some very interesting stories, but his inability to match his vision with top notch execution has resulted in uneven products of another kind.
Karthik Subbaraj might have found one answer to the puzzle. Make a film that embraces its Rajni-ness so completely that there’s hardly any conflict between the film and the star. This does not make the film itself great, mind you – this might be the most lightweight film this director has made – but it mostly hits what it aims at.
Now, if he could marry his skill as a filmmaker with Pa Ranjith’s depth of field in creating a world around his central character, you’d really have a Rajni movie for the ages.