Kolai Movie Review: An Imitation Murder Enigma

Director Balaji K Kumar's "Kolai" strives for style but lacks substance, presenting a murder mystery that mimics American influences yet falls short in both visual allure and emotional engagement. Contemporary Indian cinema faces a notable challenge—its tendency to replicate and revere American film content. Throughout its developmental years, filmmakers have emulated the narratives, visuals, and even the aesthetics of Hollywood productions. A significant accolade within the mainstream is often, "It resembles a Hollywood movie." The latest casualty of this aspirational emulation is Balaji K Kumar’s "Kolai." A prefatory note suggests that the film is set in Madras, not Chennai, as the film's elements diverge somewhat from our reality. However, it's not a period piece. The rationale behind this choice seems solely rooted in the director's desire to emulate the ambience of an American murder mystery. Regrettably, "Kolai" ultimately materializes as a superficial and uninspiring endeavor.

The narrative unfolds with the murder of Leila (Meenakshi Chaudhry), a model and vocalist, in her apartment. As the Inspector General's retirement looms, he presses Sandhya (Ritika Singh), the lead investigator, to enlist the expertise of Vinayak (Vijay Antony), a renowned private detective. Predictably, the PI initially shows reluctance due to his struggles with a failing marriage and an ailing daughter. Yet, inevitably, he takes on the case. The night of the murder saw several men visiting Leila's apartment, rendering them all suspects. The plot unfolds with the customary inclusion of red herrings, flashbacks, a grieving boyfriend, and other familiar elements.

 

Balaji has taken a straightforward murder mystery and attempted to fashion it into a retro noir film, although the underlying narrative lacks the depth to substantiate the stylistic treatment. Considerable effort has been expended on the ostentatious set design of the film. Each frame exudes opulence but lacks vitality. The depicted spaces seem devoid of human habitation. The residence, police station, and even the streets appear akin to life-sized models showcased in a home decor store. While enhancing aesthetics to align with the storyline can be justified, Balaji's stylistic approach lacks intrinsic significance. A more significant concern is the inconsistency of this cinematic world.

 

It oscillates between peculiar settings and the familiarity of Chennai. "Kolai" also grapples with an issue of exposition. Upon a character's introduction, Balaji promptly dispenses all requisite information. However, the characters fail to captivate due to their reliance on stereotypes. A suspect focused on flaunting his muscular physique, a tech-savvy neighbor with cognitive challenges, an addicted photographer—the character roster remains unremarkable. Even Vinayak's personal tribulations fail to evoke empathy, as the entire film appears remote to the viewer. While a well-executed plot twist could have enhanced the viewing experience, "Kolai" disappoints in this regard as well. By the film's conclusion, the audience's investment in identifying the killer wanes. The film's redeeming feature lies in composer Girish Gopala Krishnan's music. Tracks like "Yaar Nee" and the revamped version of the Tamil classic "Paatha Nyabagam Illayo" linger in memory as the film's sole lasting impressions.