Tamil star hero Suriya and director Karthik Subbaraj have long awaited the opportunity to collaborate on a film. Their wish has finally come true with Retro. The promotional content and posters have generated significant buzz. Pooja Hegde’s dance performance has created quite a stir. But has Suriya finally delivered a hit? Or is it another miss? Let’s find out.
Story: Retro is a film that uses the mafia world as a backdrop to explore the concept of Narakasura Vadha. Tilak (Joju George) raises Pari (Suriya) as his own, though Pari is not his biological son. Despite this, he vows to protect him. Pari, on the other hand, dreams of leaving behind the underworld and starting a new life with his love interest, Rukmini (Pooja Hegde). However, the relationship between Pari and Tilak begins to deteriorate due to a mysterious element called the “golden fish.” Their bond shatters, and Pari’s wedding is abruptly halted. What turn does Pari’s life take after this? Where does the love story of Pari and Rukmini eventually lead? That forms the crux of Retro’s plot.
Performances: Suriya presents a version of himself that we haven’t seen before. His presentation, particularly his looks and body language, is refreshingly different. His retro appearance and screen presence stand out as one of the few highlights of the film. He brings subtle variations to his performance in his signature style. Pooja Hegde responds strongly to critics who claimed she couldn’t act. She performs well in emotional scenes, though her look in the film is deliberately de-glamorized.
Malayalam actor Joju George delivers a solid performance. Balancing humor while playing a negative role is no small feat, but he manages to combine comedy and villainy convincingly. Vidhu Pratap plays a cult figure, but his character lacks proper development and clarity. Prakash Raj, Swasika, Karunakaran, and Jayaram attempt to provide support, though their roles are mostly underwhelming.
Technical Aspects: Karthik Subbaraj’s films usually come with a certain level of expectation. Even when the story doesn’t work, his unique characters, arcs, or visuals usually offer something engaging. Unfortunately, Retro falls short on all fronts. While the concept is novel, the execution lacks freshness in both story and characters.
Cinematographer Shreyaas Krishna is the unsung hero of the film. His framing and use of color add depth and visual appeal. Music by Santhosh Narayanan falls flat, except for the track Kanima, The One. However, the background score is consistently engaging. The production design and art direction deserve praise. The cult stadium set, among others, feels authentic. The costume department also did commendable work, accurately capturing the late 90s era.
Analysis: Karthik Subbaraj tackles the theme of Narakasura Vadha in a way that’s never been attempted before. He weaves together genres like mafia, love story, and revenge drama. Though the film is segmented into themes like “love, laughter, war, cult, righteousness,” the lack of clarity causes viewer fatigue.
That said, Subbaraj’s signature touch can still be seen in how he explores deeper themes like Krishna philosophy, cult culture, slavery, and state power. Some stories work better as ideas or books than as films. Retro is one such film that feels overwhelmed by the weight of too many genres.
Karthik Subbaraj had a lot to say, but placing a love story at the film’s core weakens the overall impact. His desire to avoid making a conventional film ends up confusing the audience. Unless you’re a die-hard Karthik Subbaraj fan, it’s hard to fully enjoy Retro. Still, the hard work of the cinematography and art teams is evident and should be acknowledged.
Verdict: Overall, Retro does not live up to all the hype created. The film is for die-hard Suriya fans, but for others, Retro falters in many areas. The star hero needs to wait for yet another film to make a comeback, sadly.
Bottom Line: Nothing Great
Rating: 2/5
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