‘Dragon’ (2025) Movie Review - Ashwath Marimuthu’s Comedy Drama Should Be Consciously Avoided

Pradeep Ranganathan is the perfect role model for most Indian men who never go to the gym and look average. He may not possess the physique of a gymnast or a fashion model, but in a film like Dragon, he effortlessly and single-handedly beats up all the bad men. In both Love Today and Dragon, his character doesn't even find it difficult to woo the "hot woman." Dragon opens with D. Ragavan, also known as Dragon (played by Ranganathan), getting rejected by a female student (Gopika Ramesh). Still, in college, he makes a girlfriend, Keerthi (Anupama Parameswaran), who, even after becoming his ex, isn't able to completely forget the titular character. The principal of AGS Engineering College, Mayilvahanan (Mysskin), has a daughter who, during a phone call, clearly expresses that she will only marry Ragavan. Additionally, one of Ragavan's colleagues (Aruljothi) at Lateral View company develops a crush on him. Then there is Pallavi (Kayadu Lohar), who falls head over heels for Ragavan after witnessing his gentlemanly behavior. She even sends a "spicy picture" on WhatsApp to grab his attention. In Ranganathan, an ordinary boy can see himself and vicariously fulfill his manly desires. No wonder a Love Today and a Dragon become such huge blockbusters. These movies connect with a young audience not because of their "content" but because of Ranganathan's presence.

How am I so sure? Well, these films have exceptionally dumb stories. To take them seriously is to make a joke at your own expense. This is why I am surprised by all the critical acclaim that has been showered on Dragon. It's about a man who takes a shortcut to success. Ragavan cheats his way into a high-paying job but develops a conscience towards the end when he realizes that by cheating, he is ruining the life of a bright student. Dragon is a message movie that tells you to be honest. The message, however, is delivered as a cream puff. It doesn't land with the force, the conviction that launches a wave of introspection within the audience. Director Ashwath Marimuthu settles for a light tone that neuters the sharp edges. The breezy rhythms dominate every frame, so Ranganathan has to strain his face during intense, dramatic moments to give them some weight. His expressions, however, render something simple into something utterly exaggerated - they do the work of a loud musical cue that grates our senses. When the topper narrates his painful story to Ragavan and his friend, we only concentrate on Ragavan's face because the loud expressions call attention to themselves. The sob story, on the other hand, leads to a resolution where Ragavan confesses. He is fired from his job and his marriage breaks. I suddenly remembered a Twitter post from a critic who shared their review of Nadaaniyan by writing that Khushi Kapoor and Ibrahim Ali Khan have not touched grass for ages. The same accusation can also be thrown at the makers of Dragon. They are so deep inside their dreamworld that they think a man like Ragavan, in today's India, will make sacrifices for the benefit of someone else. Dragon is as far from reality as Nadaaniyan, but it gets points due to its good intentions, and good message (Nadaaniyan, at least, doesn't pretend to be anything else than trash).

I think Dragon's intentions would have landed better if the film had allowed Ragavan to build a life out of his lie and then had shown him suffering from nightmares. That version of Dragon would have cut too close to real life - it would have impelled some audience members to hide their faces. But before an angry fan starts screaming at me, let's talk about what's present in Dragon. Marimuthu is a good writer, which turns out to be both a curse and a compliment. A "student of cinema" can clap whenever he spots a reference or callback. Ragavan's reel-making talent helps him ace a proxy interview process. A doctor advises Ragavan to close his eyes for ten minutes while feeling dizzy or exhausted, and this advice comes back later during a crucial moment. A fire extinguisher, the principal's daughter, Ragavan's ex-girlfriend, everything (re)appears in the story at just the right moment. Even Ragavan's stylish way of throwing cigarettes puts something in motion. The script is a result of clever calculation, but it doesn't offer you pleasure, excitement, or enjoyment. Everything is so tightly contained that nothing on the screen sparks your imagination. You look at Ragavan and don't wonder if this man has a favorite movie, actor, musician, or novel. You don't even care about his attraction towards Gopika Ramesh's character. Hell, what pleasure he gets from Keerthi is also left undiscussed. Did their conversations ever go beyond the boundaries of sex? Did she ever ask him what led him to become this rowdy individual? What did she think about his decision? Ragavan created a notorious reputation because a girl told him that bad boys are irresistible. Is Keerthi really okay with Ragavan's bad-boy image? She stops him from going to a fight and leaves a group photograph to kiss Ragavan. Did she ever encourage her boyfriend to get serious about his future? And if Ragavan had gone beyond seeking women and had grown fond of the adoration he got from other students, why not show us what privileges he received from this respect? Did his classmates take care of his attendance? Did he get free food in the canteen? Was Ragavan just a glorified security guard of the college, or did he help the students in other ways?

Ragavan's actions make him a hero in the college. A fan names himself Kutty Dragon (Harshath Khan). When this small dragon meets the big dragon, he's disappointed. His idol isn't as heroic (see: reckless) as he had imagined him to be in his dreams, his imagination. Dragon, though, doesn't do anything with this "expectation vs reality" thread. Unfortunately, it turns into a message related to fans and their idols. The suggestion here is that if the latter wants, they can convert the former into good people. Stop promoting tobacco, betting apps, or communal violence, and the public can also start walking in the right direction. It sounds good in theory, and the power of this thread also remains on the theoretical level. Kutty Dragon's behavior changes too abruptly with a small speech. He doesn't try to challenge his rockstar. Marimuthu, too, doesn't try to challenge his audience. Ragavan might have entered Lateral View with a fake degree, but he outperforms his colleagues through his hard work. The lesson here is that one can reach tremendous heights in their professional field without a degree from a college, provided they are willing to put in a great deal of effort. However, when Ragavan comes clean in front of everyone, his boss (Gautham Vasudev Menon) doesn't even consider this notion. Ragavan basically proves that a college degree is a mere formality and that you can do a job well with zeal, with discipline. Marimuthu, however, doesn't expand this viewpoint. By leaning towards simple conflicts and resolutions, Marimuthu, too, takes a shortcut to success. The director comes across as a hack, just like the lead character. We await the punch in the gut when Ragavan's father (George Maryan) realizes his son has committed fraud. Dragon, though, never becomes too messy, which is why Ragavan's punishment registers as a light warning, not as a tight slap (the father's sentimental backstory - unintentionally - cushions the son's fall).

Marimuthu's writing can leave you suffocated. Nothing from the outside is allowed to penetrate his rigidly conceived world. There are no stray remarks or casual conversations - only dialogues that push the story to its destination (what does Ragavan think about his job? Does he like what he's doing? Does he ever get frustrated with all the work?). When Ragavan rushes to meet Pallavi at the airport, he asks one of his friends to get a gift for her. During the meeting, however, the gift is never mentioned. Ragavan lies to Pallavi and tells her he has come to Chennai to surprise her. Does she not try to stop him from "going to work?" What excuse does he make to leave her? One critic has compared Dragon to the work of vintage Rajkumar Hirani. Hirani should see this as an insult. At his best, the Munna Bhai director employs his eccentricity to infuse life into his characters, and his world. All Marimuthu can do is use his characters as a means to tell a story with narrow ambitions, insufficient drama, and humor that doesn't motivate you to laugh or to chuckle. There isn't much difference between Love Today and Dragon. Both films have stick figures that act as emotional triggers. Some shots seem to have been directly lifted from Ranganathan's rom-com. Ragavan, like Pradeep, almost hits his girlfriend. When Kutty Dragon touches Ragavan's feet after listening to his lie, you recall that joke from Love Today where Nikitha is seen touching the feet of Pradeep's mother. Then, of course, there is that cameo at the end. Dragon had so much potential. It needed a filmmaker who's more than just a clever writer (Marimuthu's cleverness is nothing but dull diligence - he merely makes sure that the setups have their payoffs at just the appropriate moment). Marimuthu proves himself to be weak with images. This becomes more evident during the whole rug-pulling act that arrives near the end. Like a thriller, Dragon hits us with one twist after another, but notice how it all begins. A student asks the principal whether Ragavan cleared his arrears, and the principal takes a long, dramatic pause. This is the kind of trick we see in our TV serials. Marimuthu simply removes chintzy effects like lighting and thunder and the screen breaking into a million pieces. He also takes out the "dhoom ta na na na" sound from the background. Still, the whole climax feels like a cheap soap opera. Marimuthu has only one thing on his mind: He wants to send the hard workers home with a pat on their back. And since his Dragon consciously peddles a moral message, it should be consciously avoided.

Final Score- [3.5/10]
Reviewed by - Vikas Yadav
Follow @vikasonorous on Twitter
Publisher at Midgard Times