May 1, 2025: Retro Review: What happens when a film tries to be everything—mythological, political, emotional, and action-packed—all at once? Karthik Subbaraj’s Retro attempts just that, offering a cinematic cocktail that starts with a bang but ends in a blur.
You know you’re in for something grand when a 15-minute single-shot sequence, stitched with a foot-tapping track like ‘Kanima’, opens the film. It’s breathtaking, immersive, and confidently sets the tone—until the tone begins to change. And then, change again. And again.
Set across the decades—from the 1960s to the 90s—Retro follows Paari (Suriya), whose life spirals from grief to gangsterism, from love to longing. He’s a boy torn between fate and free will, constantly seeking peace in a world designed for chaos.
When he’s taken in by Thilagan (Joju George) and Sandhya (Swastika Mukherjee), it feels like a classic gangster origin tale. But what follows is a sprawling saga that mixes mythology (Krishna-Rukmini parallels), socio-political musings, and metaphors about modern India. Some land well, others feel more like film school essays than cinematic storytelling.
Retro Review: Suriya Is the Heart. The Film Needs More of It.
Let’s get this straight—Suriya is exceptional. His portrayal of Paarivelkannan is layered, fierce, and vulnerable. He commands the screen, even when the screenplay loses control. This is Suriya’s film, and he gives it everything.
Pooja Hegde’s Rukmini, while symbolic and serene, doesn’t get the arc she deserves. Her Buddha-like calm is poetic, but it lacks the depth that would make you root for her love story. The chemistry is gentle, not electric.
Joju George impresses, delivering quiet menace and emotional complexity. But even his character is dragged into a cluttered narrative that tries too hard to make a statement.
Too Many Ideas, Too Little Restraint
Subbaraj’s trademark meta-references, philosophical tangents, and political commentary are here in full force. Unfortunately, Retro collapses under the weight of its own ambition. By the time the film moves to Andamans and dives into themes of democracy and colonialism, the emotional threads begin to fray.
Despite a strong foundation, the screenplay often spells out its message, leaving little room for interpretation. You feel talked at, not talked to.
Technically Slick, Emotionally Scattered
Santhosh Narayanan’s music stands out, especially in the first half. The cinematography is slick, the staging is stylish, and some sequences are visually stunning. But all this gloss can’t hide the fact that the emotional core thins out as the film progresses.
Final Verdict: A Film of Chapters, But Not All Are Worth Reading
Retro is a visual treat with stellar performances—especially from Suriya—but it falters by trying to be too much at once. It could’ve been a poignant gangster love story or a rich cultural exploration, but by doing both (and more), it ends up diluting the impact.
If you’re here for Suriya’s powerhouse performance, you won’t be disappointed. But if you’re hoping for a tightly scripted emotional journey, Retro might feel more like a stylish detour than a destination.