‘Retro’ Movie Review: Suriya Excels in Karthik Subbaraj’s Visually Striking Gangster Drama Undone by a Bloated Second Half (LatestLY Exclusive)

Retro Movie Review: Suriya gets to play ‘The One’ in Retro - you know what that means in terms of storytelling. The star, however, needs a ‘One’ to reignite the fire in his box office streak, and the expectations are on Karthik Subbaraj to deliver. Subbaraj, who began with incredible promise through cult favourites like Pizza and Jigarthanda, has become more of a hit-and-miss director since he started working with superstars - a fate that’s befallen many talented filmmakers. I loved his last film, Jigarthanda Double X, and Retro too has portions where his direction absolutely owns the screen. But both the film and its hero are let down by a laggard second half where the screenplay nosedive - one even ‘The One’ can’t save. ‘Retro’ Hits the Screens: Fans Celebrate Suriya Starrer Movie, Chennai Theatres Witness Huge Turnout.

Paarivel (Suriya) is the foster son of feared gangster Thilagan (Joju George). Thilagan’s late first wife (Swasika) had adopted him when he was a little tot, after his only parent was killed. Paarivel has a peculiar problem - he can never laugh or smile, despite his adoptive mother’s best efforts. After her death, Thilagan, who never really warms to the boy, sees his potential as a skilled fighter and eventually accepts him as his son, naming him ‘Irumbu Kai’ Paari (Iron-Fisted Paari... definitely a nod to Suriya’s abandoned superhero film, right?).

The story shifts to 1993, where Paarivel - now a formidable gangster himself - has decided to leave the world of crime after marrying his love, Rukmini (Pooja Hegde). But things turn sour between him and his foster father on the night of the wedding, leading to bloodshed. Paarivel is arrested, and Rukmini, disillusioned by his violent ways, leaves the village - destination unknown.

Watch the Trailer of 'Retro':

Five years later, Paarivel learns where Rukmini is. He plans an escape from prison and heads to the Andamans to find her. But the islands bring more than old memories—they also introduce new enemies in the form of Rajavel Mirasu (Nassar) and his hedonistic, violence-loving son Michael (Vidhu), unofficial rulers who have turned the locals into virtual slaves.

'Retro' Movie Review - A Well-Directed First Half

Interestingly, this is the second film I watched this week featuring a murderous cult and a hero who infiltrates it to bring it down - the other being Nani’s Hit 3. And in both Hit 3 and Retro, you’ll find technical finesse worth appreciating, a well-executed single-take scene, and a lead actor in supreme form. Yet, in both films, these strengths are undone by a screenplay that overstays its welcome and desperately needs tightening - especially in Retro.

Which is tragic, because I was genuinely taken by the first half of Retro. Paarivel’s character introduction is neatly handled, and his tragic inability to smile is a compelling trait. The highlight of the first half is definitely that extended one-take sequence, beginning with the “Kanimaa” song during the wedding, moving into a tense conversation between Paarivel and Thilagan, returning to the dance, and culminating in a thrilling action set piece - all executed without breaking the visual flow. It’s moments like this that make Karthik Subbaraj such an exciting director, even if his films don’t always stick the landing.

Looking back at the film as a whole, it’s hard not to feel like Retro peaked here - even if that realisation comes only much later. The prison scenes feel like a lull, but the tempo picks up once Paarivel escapes to the Andamans, kidnapping Chaplin Lolly (Jayaram), a laughter therapist, along the way.

I was initially sceptical about this new character - especially with haunting memories of Jayaram's horrendous act in Game Changer still fresh - but thankfully, my fears were unfounded. The laughter subplot is a surprisingly sweet addition, underscoring Paarivel’s desire to change for Rukmini. There’s also something poetic about an unsmiling hero trying to bring joy to a community robbed of its laughter by despotic rulers, thereby paralleling their struggles. Jayaram is well-utilised here, though his character fades into the background in the second half.

What I didn’t admire, though, was how Rukmini’s arc was handled. Yes, she’s committed to non-violence, but the writing turns that trait into stubbornness, making her come across as unreasonably rigid. Her refusal to accept Paarivel’s protection - even when her life is in danger - feels poorly explored. Given that their love story fuels his journey through much of the film, this lack of emotional depth is a missed opportunity.

Still, Retro strides confidently to its interval point, buoyed by stylishly directed action scenes. When the villains start hunting Paarivel, it promises an exciting second half - on paper, at least. I particularly loved the moment when Paarivel finally cracks a smile. The scene’s gentle tone contrasts beautifully with the surrounding brutality, as if hinting that the smile won’t last.

'Retro' Movie Review - A Bloated Second Half

The second half presents an intriguing setup, with Paarivel forced to join Michael’s gladiator-style combat ring. This is where Subbaraj leans into his favourite theme - exploring the oppression of the powerless by the powerful. An interesting brief montage traces this oppression from 1860 to the present, showing how little has changed for the locals. Like in Jigarthanda Double X, Subbaraj explores the rebellion of the downtrodden - but here, the difference is the ‘Chosen One’ narrative, with Paarivel cast as their saviour.

Unfortunately, this is also where Retro loses its edge. The metaphors become more heavy-handed, with Paarivel being likened to Lord Krishna - from his birth narrative (complete with a Kamsa-style prophecy) to a climactic arena showdown. For a film that wants to be a different kind of mass entertainer, Retro ends up following a tired, predictable path that undercuts its ambition. ‘Kanguva’ Movie Review: Save Your Ear-Drums When Watching Suriya’s Ambitious but Patience-Testing Period Saga.

The gladiator scenes, though deftly choreographed, fall short of their potential. Michael and Rajavel are passable villains, but I wish more of the antagonistic weight had been given to Joju George’s Thilagan - whose golden hand (Thanos nod?) and character arc are far more compelling. The final face-off and the epilogue - which includes a clever joke - offer some redemption, but by then, the damage is done.

As for performances, I genuinely feel bad for Suriya. He’s an actor who throws himself into every role and nearly always elevates the material - Kanguva being one of the rare exceptions. In Retro, he delivers one of his finest performances, commanding both action (so convincing in the close combat sequences) and emotion. A standout moment is Paarivel trying to smile in front of a mirror - deeply moving, and arguably the film’s emotional peak. Which makes it all the more frustrating that the writing in the second half, while elevating the character, lets down the film.

Pooja Hegde, going deglammed (and possibly brownfaced), is decent, though my issues lie more with how her character was written than her performance. Joju George is excellent as the evil foster father. Jayaram is likeable as the Malayali therapist. Vidhu is convincing as the manic Michael, but he needed more menace. Prakash Raj, Nassar, and Sujith Shankar are solid in smaller roles.

On the technical front, Retro impresses. Shreyaas Krishna’s cinematography shines throughout - not just in the dazzling 15-minute one-take, but also in capturing in the serene visuals of the Andamans and the dynamic fight sequences. Editor Shafique Mohamed Ali does good work, though the second half could have used some trimming. Santhosh Narayanan once again delivers a memorable score, both in the songs and background music - his collaborations with Subbaraj continue to be a highlight.

'Retro' Movie Review - Final Thoughts

Retro is a film of two halves - one bursting with inventive filmmaking and emotional depth, the other weighed down by overblown metaphors and narrative fatigue. It’s a frustrating watch not because it’s bad, but because it flirts so closely with greatness before losing its way big time. Suriya gives it his all, and Karthik Subbaraj displays in flashes why he is such a talented filmmaker with an eye for visual aesthetics. If only the writing had trusted its own strengths instead of leaning so heavily on tired myth-making, we could have had another powerful drama as Jigarthanda Double X.

(The opinions expressed in the above article are of the author and do not reflect the stand or position of LatestLY.)

(The above story first appeared on LatestLY on May 02, 2025 08:53 PM IST. For more news and updates on politics, world, sports, entertainment and lifestyle, log on to our website latestly.com).