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Movie info 

Name : Petta

Size : 1.1GB

Quality : 720p Bluray

Language : Hindi

Release date : 10 Jan 2019

Kaali is an elderly man who takes up a job as a boys hostel warden at a college in Darjeeling. When he first comes to the hostel, he notices it being dominated by a group of rowdy final-year students led by Michael, the son of a local leader. Kaali manages to put a full stop to Michael's antics, which leads to enmity between the two. Kaali forms a close bond with an NRI hostelite Anwar, who is in a romantic relationship with Anu, the daughter of a pranic healer, Mangalam. When Kaali meets Mangalam to convince her to accept her daughter's relationship with Anwar, they both fall in love.

Michael, who lusts for Anu, is angered on hearing of her relationship with Anwar, and attempts to harass them, only to be stopped by Kaali, who ensures the suspension of he and his friends, with Anwar recording and sharing the humiliation of Michael and his gang. This video is noticed far away in Uttar Pradesh by a local goon Jithu, the son of a powerful politician Singaaram alias Singaar Singh. Singaar and Kaali have a past animosity and on seeing Kaali and Anwar in the video, he sends his men to Darjeeling to kill them both. At the same time, Michael, humiliated at his suspension, sends his men to beat up (but not kill) Kaali. Michael's plan backfires as he and his men are caught in the fight between Kaali and Singaar's men. Kaali subdues Singaar's men, following which Anwar learns about his past.

Anwar is the son of Maalik, who was Kaali's best friend, with Kaali's real name being Petta Velan alias Petta. Twenty years ago, in a village in Madurai district, Maalik was in love with Poongodi, who was impregnated by him out of wedlock. When Petta heard of this, he and his wife Saro managed to convince Poongodi's father Rajapandi to get Poongodi married to Maalik, even though he and Petta were sworn enemies. But Rajapandi's two sons, Devaaram and Singaar, vehemently opposed the alliance as well as transfer of property to Poongodi and killed their father as a result. Petta, on hearing about Rajapandi's murder, killed Devaaram during Rajapandi's funeral and chased Singaar out of the village. In retribution, Singaar orchestrated a bomb blast during Poongodi's seemantham, killing Maalik, Saro and Petta and Saro's son Chinna. Petta found out that Poongodi was still alive and took her to safety. Poongodi gave birth to a boy, who was none other than Anwar, and both of them left for Australia as refugees to escape from Singaar. On hearing this story, Petta and Anwar, along with Michael's henchmen, leave for Uttar Pradesh to finish off Singaar.

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In Uttar Pradesh, Petta and Anwar come into confrontation with Jithu, who is determined to kill them both after he also learnt about the animosity between Petta and his father. They manage to escape from him. Later, Petta meets Jithu privately and tells him that he is none other than his son Chinna, who did not die in the bomb blast, but was adopted by Singaar after finding out that he was still alive. When Jithu confronts Singaar regarding his parentage, the latter sends his men to kill Jithu, who is rescued by Petta. Petta and Jithu hatch a plan to kill Singaar. They barge into Singaar's mansion and kill him and his henchmen.

Following Singaar's death, Petta has a surprise in store for Jithu. He reveals that Jithu is not his son and that he really is Singaar's son. He used him to lead him to Singaar as part of a strategy to kill the latter. He further adds that Chinna had died in the bomb blast twenty years ago. After this shocking revelation, Petta kills Jithu off-screen.

Rajinikanth protects his turf in more ways than one in Karthik Subbaraj’s Petta. The unabashed fan-boy tribute has none of the gravitas of the Tamil screen icon’s recent films Kabali and Kaala, and its hero is a flesh-and-blood character bubbling with vitality and vim rather than the computer-generated figures from 2.0. Subbaraj’s screenplay smartly draws on Rajinikanth’s back catalogue and is overflowing with the lines, witticisms and gestures that have endeared the actor to his fanbase and made every new release the equivalent of sighting a deity.

In between reeling off numerous quotations from Rajinikanth’s previous films, Subbaraj spins a yarn that spans generations and locations. Petta has traces of the Hindi film Main Hoon Naeven as it reworks Rajinikanth’s older blockbusters, most notably Baasha from 1995. The screenplay has two distinct parts. The first is better, with fewer characters and a lot less going on.

Rajinikanth plays Kaali, the new hostel warden at Saint Woods College, which is plagued by corruption and bullying. The over-achieving Kaali cleans up the place overnight by showing thuggish student Michael (Bobby Simha) and his posse who the real boss is. In between brandishing his fists and a nunchaku, Kaali displays his cooking skills, an impeccable taste in old Tamil film music and finds the time to size up Mangalam (Simran), the mother of one of his students.

Mangalam is soon eclipsed by a host of other characters who hold clues to Kaali’s not-so-mysterious past. Nawazuddin Siddiqui is wasted as opportunistic Right-wing politician Singara, but Vijay Sethupathi waddles his way to prominence as Jithu, Singara’s son and chief trouble-maker. Jithu finds something better to do than disrupting Valentine’s Day celebrations and punishing “anti-Indians” (this movie’s feeble attempts to smuggle a politic message into an entertainer), setting up a blood-splattered climax that promises a sequer

The plot fits on a single page, but Subbaraj’s insistence on filling in the margins bloat the running time to 173 minutes. Petta unravels as it tries to cram in too much and too many twists, and some characters come off poorly – a recurring problem with Rajinikanth films, in which the fixation with the star’s persona invariably throws every other actor into the shadows.

There are, however, no signs of laziness or ineptitude in the packaging of familiar elements. The cleverly directed action sequences make the aging actor appear credible, and S Tirru’s slick camerawork bathes the icon in a golden hue at every available opportunity. The punchy soundtrack, by Anirudh Ravichander, is smoothly integrated into the busy screenplay.

Petta is always on the move, like its hero, and Subbaraj directs the film with a sure hand, deftly channeling Rajnikanth’s full-throttle energy and charm and allowing Indian cinema’s hardest working superstar to reclaim his throne. The actor relishes the mega-sized fan tribute, and he makes sure that he doesn’t waste a single minute that he is on the screen.