By Henry McKeand
There's a growing sentiment that modern superhero films value spectacle and brand recognition over genuine cinematic storytelling, but this hasn't stopped international filmmakers from trying to replicate Marvel's franchise success. It only makes sense that the Indian film industry, which has had a chokehold on “spectacle” for the better part of a century, would have the best chance of challenging America's shared universes. Last year saw the release of “Brahmastra: Part One”, which used Hindu mythology to kickstart a planned ‘Astraverse' and “RRR”, a film that reminded global audiences what a real blockbuster can look like. But perhaps the most exciting Indian ‘franchise' film of 2022 was “Vikram”, the smash hit Tamil action film that belongs in the Lokesh Cinematic Universe, a planned series of connected releases helmed by Lokesh Kanagaraj. “Vikram” received rave reviews and interest from Western viewers hungry for more of what “RRR” had to offer, but the first film in the “LCU” was 2019's “Kaithi”, a blistering action thriller that paved the way for “Vikram”'s success.
For a film designed to start an entire shared universe, “Kaithi “starts off simple enough. Committed police inspector Bejoy (played with an everyman decency by Narain) is investigating a crime syndicate headed by two ruthless brothers Anbu and Adaikalam (played by Arjun Das and Harish Uthaman). After seizing a large narcotics shipment, Bejoy and his fellow officers attend a large party. When the criminals poison their drinks with large doses of Rohypnol, the officers are knocked out. Only Bejoy, who didn't drink, can save the unconscious officers from rapidly approaching gangsters who want revenge for the drug bust.
This is where Dilli, the hero played by Karthi, comes in. Dilli, a criminal on parole, was arrested on his way to meet his young daughter for the first time. Now, he's the only person who can help Bejoy save the officers. Using Dilli's skills as a truck driver, the two men load the officers onto the back of the truck with plans to drive them to a hospital. The truck's owner, a young cater named Kamatchi (a comically worried KPY Dheena), comes along with them. Soon, the three men find themselves fending off waves of bad guys on their way to the doctor. Dilli is fueled by his desire to see his daughter, and he doesn't think he can trust Bejoy. Their contentious buddy cop relationship gives the film its emotional core. Meanwhile, a newly assigned constable named Napoleon (George Mariyan) finds himself alone with a group of university students at the police station where the criminals and cocaine from the drug bust are being kept. The motley crew is forced to defend the station against invading criminals as they wait for support from Bejoy and Dilli.
It's a needlessly complicated setup for a film ultimately interested in delivering simple thrills, and it's difficult to keep track of the different characters and sub plots at first. Dilli is fully introduced around thirty minutes into the film, and it takes nearly an hour for the stakes to become fully clear. But when the film's plotlines start to finally click, “Kaithi” delivers 90 minutes of some of the most fist-pumping action in recent memory.
Kanagaraj makes up for any pacing issues in the script with the clarity of his direction. The many brawls and truck chases are staged with a constant spatial awareness, even when the set pieces are too ambitious for their own good. Kanagaraj and cinematographer Sathyan Sooryan ISC manage to create nighttime action sequences that are engaging and easy to follow, which is no small feat in this era of muddled blockbuster filmmaking. There's a back-to-basics mentality here; the film is at its strongest when it scales back for straightforward brawls and showdowns that never lose track of the characters.
Even more impressive is how the film juggles its many storylines. When the momentum gets going, it seamlessly cuts between the race to save the police officers and the siege at the station, all while making sure that viewers don't forget about Dilli's daughter or the different double agents embedded in the police force and the gang. On paper, it should be too cluttered to work, but Kanagaraj and editor Philomin Raj manage to pull it off, combining the ticking-clock intensity of “Speed “and “Assault on District 13” with the parallel narratives of a disaster flick.
But how does all of this start a massive franchise? The answer lies in the character of Dilli, who Karthi plays as equally mysterious and larger-than-life. The stoic quality of the character is offset by scenes of true vulnerability. It's a command performance designed to leave audiences wanting more, and the film's final scene hints at the hero's future importance to the universe. Interestingly, it's Narain's Inspector Bejoy who went on to appear in “Vikram”, making him the main connection between the two films. It makes sense that Narain was asked to reprise the role; in “Kaithi”, he brings a grounded humanity to a story that could have been deafened by all of the heroics on display. KPY Dheena is good, too, as the requisite comic relief, and George Mariyan's overpowered constable gives life to the police station siege scenes. Arjun Das and Harish Uthaman are also impressive, making their cocky villains sufficiently hateable.
Too many would-be franchise starters bite off more than they can chew by spending more time setting up future sequels than telling a coherent story. First act problems notwithstanding, Kaithi avoids this pitfall. With patient character development and emotionally affecting action, the film introduces a mythic hero and a cast of side characters that actually leave you wanting more.
Indian films have seen incredible commercial success in recent years, and it remains unclear if cinematic universes are even necessary in an industry already flooded with massive releases. After all, who needs a recognizable franchise when the stars themselves can sell out theaters all around the world? But if the next decade of Indian moviemaking indeed turns out to be dominated by Marvel-esque universes, they should all strive to begin with films as bold and self-contained as “Kaithi”.
