{"id":3733,"date":"2016-03-16T16:15:47","date_gmt":"2016-03-16T10:45:47","guid":{"rendered":"http:\/\/13.201.39.237\/?p=3733"},"modified":"2026-07-17T20:41:29","modified_gmt":"2026-07-17T15:11:29","slug":"2-0-review-rajnikanth-shankar-akshay-kumar","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=3733","title":{"rendered":"2.0 Review: There\u2019s More to the Rajinikanth Movie and It\u2019s Akshay Kumar"},"content":{"rendered":"\n

I<\/span>n India, a <\/p>superhero<\/span><\/a> film is never allowed to be just that. Instead, a home-bred venture must include a medley of genres \u2013 from romance and drama to comedy and musical. The stakes are even higher when it\u2019s a superhero film starring Rajinikanth. <\/span>\n\nIn addition to these existing hybrids, the superhero tale is also contrived to slickly incorporate \u201cRajinisms\u201d \u2013 as witnessed in Shankar\u2019s <\/span>Enthiran<\/span><\/i> where the superstar played a double role as the scientist and his villainous robot. Its sequel, <\/span>2.0<\/span><\/i>, which has been in the making for over three years, obediently takes forward the tradition of allowing <\/span>Rajinikanth\u2019s<\/span><\/a> stardom to take over and define every aspect of the film. <\/span>2.0<\/span><\/i> is at once, a comedy, a vigilante film, a socially conscious drama, an action adventure, a sci-fi spectacle, a romance, and a superhero film. And Rajinikanth plays saviour, vigilante, underdog, romantic hero, action hero, comic hero, and a superhero \u2013 in four starring roles plus innumerable mutated versions of them. <\/span>\n\nYet despite being loaded with quinnessential Rajinisms \u2013 including the slo-mo walk, self-referential dialogue, witty punchlines, and, well, immortality \u2013 <\/span>2.0<\/span><\/i> stands out for acknowledging the problem plaguing every superhero film. Traditionally, superhero outings (especially ones in the Marvel universe) think very little of their villains: Rarely are they credible threats for their heroes. Think Hela in <\/span>Thor: Ragnarok<\/span><\/i><\/a> or Ronan in <\/span>Guardians of the Galaxy<\/span><\/i>. Barring <\/span>Avengers: Infinity War\u2019s<\/span><\/i> Thanos, most villains in superhero outings are a forgettable formality. <\/span>\n\nHowever, <\/span>2.0<\/span><\/i> chooses to stray from that convention and comes very close to making it an equal battleground for its hero and villain. It\u2019s Pakshirajan (a fabulous <\/span>Akshay Kumar<\/span><\/a>), the film\u2019s villain who gets the elaborate backstory; he\u2019s the first character we see in the film and the only one to merit a song. A sixty-something ornithologist who commits suicide inside a cell phone tower, Pakshirajan mutates into a supernatural spirit \u2013 made up of cell phones and dead birds \u2013 who unleashes his wrath on a world over-dependent on cell phones. <\/span>\n\n

\"2_0_rajnikanth_akshay_kumar\"<\/a>
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Besides looking at the obvious effects of technology on the environment, Shankar also reimagines 2.0\u2019s antagonist as its hero: Pakshirajan is humanised and allowed to have a moral compass and the audience\u2019s sympathy.<\/p>\n

Lyca Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nA day after his death, the residents of <\/span>Chennai<\/span><\/a> experience a mysterious phenomenon when their phones vanish into thin air. Unable to justify the occurrence, the government reaches out to Dr Vaseegaran (Rajinikanth) for help. It doesn\u2019t take him long to ascertain a \u201cfifth force\u201d is behind the cell phone draught and three telecom-related deaths in the city. Naturally, the scientist brings back Chitti (Rajinikanth), his OG indestructible robot, to help him save the city from the impending catastrophe. <\/span>\n\nBut before he gets to do that, <\/span>2.0<\/span><\/i> affords Pakshirajan and his motivations the time and space to seep into the film\u2019s universe. As a result, we get an origin story of a vigilante who was forced to turn into a <\/span>villian<\/span><\/a> out of sheer desperation \u2013 a narrative device exclusively reserved for underdog heroes. In a flashback, we learn that Pakshirajan, who was saved at birth by a bird, dedicated his life to studying and protecting them. He eventually realises that harmful radiations from cell phone towers are slowly and steadily wiping out our avian friends. As a common man living in a country driven by corruption and greed, his efforts to reveal the ways in which network operators manipulate TRAI regulations, go in vain. Obviously, the only option he has is to return as a supernatural spirit who punishes everyone complicit in harming the environment. <\/span>\n

2.0<\/em> chooses to stray from that convention and comes very close to making it an equal battleground for its hero and villain.<\/blockquote>\n2.0<\/span><\/i> has an inventive premise, a stock feature in Shankar\u2019s films. <\/span>Enthiran <\/span><\/i>(2010), for instance, relied on \u201cWhat happens when a machine sets out to destroy the man who created it?\u201d while <\/span>Mudhalvan <\/span><\/i>(1999) brought alive the familiar fantasy of a common man becoming a Chief Minister for a day. Yet in 2.0<\/em>, the premise is weakened by the director’s frustating execution. Although, Shankar technically reimagines the antagonist as its hero: Pakshirajan is humanised and allowed to have a moral compass and the audience\u2019s sympathy. But tired hero-worship tropes ensure that Rajnikanth remains the de-facto hero. In fact, two of the film’s most extraordinary action set-pieces belong to Pakshirajan. In one of them, Kumar is a hoot as he goes about manipulating Chitti into not attacking him by possessing Dr Vasee and then destroying Chitti, piece by piece. The packed morning show that I was in, couldn\u2019t help but whistle.<\/span>\n\nUnfortunately, the fact that Pakshirajan effortlessly towers over four <\/span>Rajinikanths <\/span><\/a>is also <\/span>2.0\u2019s<\/span><\/i> greatest weakness and its undoing. To make up for it, the film scrambles to overcompensate by needlessly doubling up on the superstar\u2019s heroics. The result is a long drawn-out and unimaginative climatic action sequence that exposes our inherent double-standards in what we accept in heroes (and includes a completely indefensible Hiroshima joke). <\/span>\n\nBut <\/span>2.0<\/span><\/i> \u2013 India\u2019s most expensive film mounted at an estimated \u20b9600 crore \u2013 also demands some questions: Can we really label the film as \u201cthe future\u201d when it continues to exist in a overtly male universe where the 67-year-old Rajinikanth plays 30-year-olds? A universe that doesn\u2019t have even one fully realised female character? (Amy Jackson plays Neela, the robot who saves Chitti and is objectified in return). And how long can the legend of Rajini continue to shield the actor from taking risks that benefit his films? <\/span>\n","protected":false},"excerpt":{"rendered":"

Despite Rajinikanth\u2019s presence, 2.0 ensures it is an equal battleground for its hero and antagonist. It\u2019s the villain Pakshirajan \u2013 a fabulous Akshay Kumar \u2013 who gets the indulgent backstory; he\u2019s the first character we see in the film and the only one to merit a song.<\/p>\n","protected":false},"author":103,"featured_media":3736,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[],"class_list":["post-3733","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture"],"yoast_head":"\n2.0 Review: There\u2019s More to the Rajinikanth Movie and It\u2019s Akshay Kumar<\/title>\n<meta name=\"description\" content=\"Despite Rajinikanth\u2019s presence, 2.0 ensures it is an equal battleground for its hero and antagonist. 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