Director: Karthik Subbaraj
Cast: Suriya Sivakumar, Pooja Hegde, Joju George, Prakash Raj, Nassar
Synopsis:
A man raised by a gangster from childhood is torn between a life of violence and his desire to change for the woman he loves. But escaping his past isn't so easy—especially when fate seems determined to pull him back in.Review:
Karthik Subbaraj kicks off Retro with a bold mythological touch. A spiritual sermon about Lord Krishna sets the tone, while a boy marked by a scar resembling a peacock feather is taken in by a gangster’s compassionate wife. Fast forward, and that boy—now Paarivel Kannan—is caught between being a protector and a destroyer, echoing divine figures like Krishna or even Buddha, depending on who you ask.
The film cleverly uses these mythic parallels to shape Paari’s journey. He’s seen by an oppressed island community as their savior, fighting brutal enemies in arena-like showdowns. Suriya delivers a magnetic performance as Paari, effortlessly switching between vulnerability and godlike intensity. Pooja Hegde plays Rukmini, Paari’s love interest who wishes he’d walk away from violence and embrace peace. Her desire clashes with the reality that sometimes, peace must be fought for—and this moral tension keeps the film emotionally engaging.
The screenplay throws in several layers of conflict—a symbolic “gold fish” becomes a trigger for betrayal between Paari and his foster father (played by a solid Joju George), while a sinister cult leader named King adds another antagonist into the mix. Meanwhile, the oppressed villagers hold out hope for a chosen one to save them. Subbaraj weaves these threads together, but not always with satisfying clarity. As the story progresses, the pacing suffers, and the narrative becomes a bit overcrowded with ideas.
The second half, in particular, struggles to maintain the tight grip of the first. Some scenes feel overlong, especially the violent segments that start to lose impact. Rukmini’s repeated rejection of Paari for his use of force could’ve used deeper justification, especially when he fights to protect her.
Yet despite its flaws, Retro dazzles in moments thanks to Subbaraj’s directorial flair. A stunning 15-minute single-take sequence—blending music, confrontation, and action—commands attention. One action set-piece in a glowing bioluminescent sea is visually jaw-dropping, with Shreyaas Krishna’s cinematography making it pop off the screen. Suriya’s performance adds further gravitas; this is one of his more grounded and emotionally resonant roles in recent years.
The music by Santhosh Narayanan is another major win—his catchy songs and pulsating score breathe life even into weaker scenes. His sound design lifts the film during critical emotional beats and action sequences alike.
Had the writing in the latter half matched the brilliance of its setup and technical execution, Retro might’ve been a landmark film. Instead, it becomes a stylish yet uneven ride—memorable for its high points, but weighed down by its ambitions.
Rating: 3/5
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