There are many villains in Karthik Subbaraj's Retro. One of them, Michael Mirasu (Vidhu), says that peace and democracy are boring. He wants war because it's bloody and exciting. Michael sounds like a right-wing troll who encourages war-like conditions. These people just care about money and themselves and spew venom from their air-conditioned rooms or ivory towers. Michael is not different from them. Then, there is Rukmini (Pooja Hegde) on the other end of the spectrum. She's like a left-winger who writes idealistic posts on Instagram or Twitter. These people are out of touch with the ground reality and live in their own bubble. Rukmini wants Paarivel (Suriya) to leave the path of violence, even when violence proves to be the only solution to a problem. When Paarivel's adoptive father, Thilagan (Joju George), tries to kill Rukmini at her wedding, Paarivel retaliates by severing his right hand. At that moment, there couldn't have been any other way to stop Thilagan. Paarivel sheds the blood of a bad guy to save a good character. His actions aren't equal to the brutal methods of a villain. But Rukmini cannot see the difference - she doesn't even give Paarivel a chance to explain himself. And we are meant to believe that she is in love with him?
Finally, there is Paarivel himself. He's the man who gets the job done. He's a tool, a weapon that can either destroy or save the world. In the hands of people like Thilagan and Michael, Paarivel becomes a destroyer. In the hands of the right people, Paarivel can become a savior. Since this is a Karthik Subbaraj Padam, Paarivel is not simply a macho hero, and Retro is not just a simple showcase of male testosterone. Paarivel has a spear-shaped scar on his stomach; he is the Chosen One. Subbaraj's hero suffers from an odd condition: He cannot smile or laugh. Even legends like Charlie Chaplin fail to tickle his funny bones. This is not a mere quirk, however. There is a solid reason behind this condition, and its revelation only highlights Subbaraj's cleverness. The director makes smart message movies that avoid boring lectures. The message arrives potently, and it hits all the right buttons. The oppressed people of the Andaman Islands, while pointing bazookas towards Michael, Thilagan, and their men, suddenly burst into laughter. These sounds of joy have a profound effect on your senses. Even if you cannot immediately discern the scene's intention, the scene itself feels powerful and appropriate. The whole film suddenly comes into focus - every piece falls into its place. I wish Subbaraj had ended Retro then and there. He gets his joke during the post-credits scene, but he also ends up spoiling the sole good thing in this film.
Retro, like any masala movie, is adorned with mythological touches. Paarivel's other name is Jada Muni, and according to a quick Google search, Jada Muni is a manifestation of Lord Shiva, embodying the qualities of a saint and a powerful guardian. Well, he does feel protective towards Rukmini and eventually saves the islanders from their abusers. But Paarivel is a very dull character, an uninteresting Chosen One. He can fight; he can also turn emotional. The latter thing is meant to make him human, but his vulnerabilities are limited to whatever the plot desires. Paarivel doesn't have a hobby or interest in anything beyond...his love interest. Does he have a favorite film or food? He plays a Bhagyaraj hit at one point as a joke, but the choice is driven more by the story's demand. Why does he love Rukmini? What does he see in her? This whole relationship started because she told Paarivel he would look good with a smile, and this is what his adoptive mother said to him before her death. Of course, there is another "mythological" reason: Rukmini is the first queen of Krishna, and Paarivel is bluntly presented as Vishnu's eighth avatar. She is a veterinarian, and he attacks humans who behave like animals. When Rukmini leaves Paarivel, he, too, starts fighting like an animal. But in the end, for her sake, he becomes a peaceful human. The veterinarian fixes an "animal." These are all just interesting thoughts. They don't cover up the fact that both Rukmini and Paarivel are flat characters.
Retro is still sufficiently watchable, thanks to a superb Suriya and Subbaraj's filmmaking talent. The director pulls off a spectacular oner where Paarivel first talks to Thilagan and his men on the terrace, then confronts them on the ground floor (in between these two moments, he dances). Healthy conversation is a sign of high intelligence, so the discussion takes place on the top floor. Meanwhile, since physical conflict stems from baser instincts, the action sequence unfolds on the lower floor. Paarivel plays the role of both Devdas and Demon. It's only the latter part, though, that appears believable because, for all its interesting style and ideas, Retro feels effective solely as an action entertainer. There is a kicky energy in the fight sequences - they are choreographed with utmost care and attention. As a comedy, Retro falls flat. The jokes are terrible. Many of them are even muted (the songs are prioritized over the humor), so you can't tell if Paarivel is actually a good comedian or if Subbaraj is forcing us to buy him as one. I choose the latter option. There is a scene in which Thilagan's golden hand excitedly moves on the table when he learns about Paarivel's location. There is a good visual joke here, which Subbaraj spoils by not knowing how to effectively utilize this moment.
But Subbaraj's biggest blunder in Retro is that he fails to make us care for the islanders. He doesn't give them personality; he reduces them to mute victims. They are here to simply justify the hero's grand image, his grand aura. Subbaraj cares for them the way a man responds to a tragic story in the newspaper: nodding sadly, saying a few words about the state of the world, then turning the page and moving on. Ultimately, what Subbaraj achieves in Retro is what every hack director nowadays tries to do: Create a collection of high-adrenaline, hero-worship moments for the fans of the star. The hack, obviously, fumbles, but should we appreciate a gifted filmmaker like Subbaraj for successfully completing such a minor task? He clearly made Retro with gigantic ambitions. Unfortunately, he triumphed only within the walls of a small arena.
Final Score- [4.5/10]
Reviewed by - Vikas Yadav
Follow @vikasonorous on Twitter
Publisher at Midgard Times