Retro - A Stylish Yet Uneven Gangster Saga
Retro, the 2025 Tamil-language romantic action drama directed by Karthik Subbaraj and starring Suriya, arrived in theaters on May 1 with sky-high expectations. Following the disappointment of Suriya’s previous film Kanguva, this collaboration with Subbaraj, known for his bold and unconventional storytelling (Pizza, Jigarthanda), promised a fresh blend of romance, action, and nostalgia set against a vibrant 1960s-to-1990s backdrop. With a stellar cast including Pooja Hegde, Joju George, and Jayaram, and backed by Suriya’s 2D Entertainment and Subbaraj’s Stone Bench Creations, Retro aimed to deliver a cinematic experience that was both emotionally resonant and visually spectacular. Does it live up to the hype? While Suriya’s magnetic performance and the film’s technical flair shine, a muddled narrative and uneven pacing prevent Retro from reaching its full potential.
The story centers on Paarivel Kannan, or Paari (Suriya), an orphan adopted by Sandhya (Swasika) and her gangster husband, Thilakan (Joju George). Raised in a world of smuggling and violence, Paari grows into a brooding, unsmiling enforcer, haunted by trauma and a mysterious trident birthmark. His life takes a turn when he reconnects with Rukmini (Pooja Hegde), a veterinarian whose compassion contrasts with his violent past. Determined to leave crime behind for love, Paari hides a valuable consignment known as the “Gold Fish,” sparking a rift with Thilakan. The narrative, structured in chapters titled “Love,” “Laughter,” “War,” and more, follows Paari’s quest for redemption, which leads him to the Andaman Islands, where he encounters quirky characters, oppressive rulers, and a secretive cult.
Suriya delivers a tour-de-force performance, anchoring Retro with his versatility and charisma. Whether he’s a menacing gangster, a lovestruck suitor, or a mythical savior, Suriya imbues Paari with intensity and vulnerability. His action sequences, choreographed by Kecha Khamphakdee, are a highlight, showcasing his martial arts prowess in stylish, high-energy fights. A 15-minute single-shot sequence featuring the song “Kannadi Poove” (or “Kanima” in Telugu) is a standout, blending romance, action, and drama in a wedding scene that’s both technically dazzling and emotionally charged. Suriya’s ability to convey Paari’s inner turmoil—especially in moments where he grapples with his violent instincts—makes him the film’s beating heart.
Pooja Hegde, as Rukmini, brings poise to a role that’s unfortunately underwritten. While her chemistry with Suriya is convincing in the “Love” chapter, her character lacks depth, serving more as a catalyst for Paari’s transformation than a fully realized figure. Joju George shines as Thilakan, infusing the gangster with menace and complexity, though his role feels underutilized in the second half. Jayaram’s quirky Dr. Chaplin Laali is a mixed bag—his comedic interludes aim for levity but often feel forced, veering into caricature. Supporting players like Nassar, Prakash Raj, and Vidhu (as the antagonist Michael) add gravitas but are hampered by a cluttered script that juggles too many characters and subplots.
Subbaraj’s direction is ambitious, weaving a genre-bending tapestry that blends gangster drama, romance, and socio-political commentary, with nods to Buddhist philosophy and the Eelam issue. The film’s retro aesthetic, captured by Shreyaas Krishna’s cinematography, is a visual treat, evoking the 1960s to 1990s with vibrant costumes, vintage hairstyles, and a gritty island setting. Santhosh Narayanan’s score and songs, particularly “Kannadi Poove,” elevate key moments, though the Telugu dubbing and some generic tracks dilute their impact for non-Tamil audiences. The action sequences, from a moonlit seashore fight to a climactic battle, are exquisitely staged, showcasing Subbaraj’s flair for stylized violence.
However, Retro stumbles in its execution. The first half is engaging, with a brisk pace and strong character establishment, but the second half veers into disjointed territory. The shift to the Andaman Islands introduces a bizarre mix of tribal conflicts, a “Rubber Cult,” and a “Gold Fish” MacGuffin that feels like a mash-up of Mad Max, Gladiator, and Squid Game. These elements, while ambitious, dilute the emotional core of Paari and Rukmini’s love story, leaving the narrative overstuffed and incoherent. The anthology-style structure, while innovative, disrupts the flow, and the 168-minute runtime feels bloated, with sluggish pacing and unnecessary detours testing viewer patience. The political undertones, while admirable, lack the narrative conviction of Subbaraj’s Jigarthanda Double X, feeling tacked on rather than organic.
For Suriya fans, Retro is a treat, offering crowd-pleasing moments like punchy dialogues and slow-motion entries. The film’s technical brilliance and Suriya’s commanding performance make it a worthwhile theatrical experience, especially in its single-shot sequences and action-packed set pieces. Yet, its lack of emotional depth and narrative coherence keeps it from being a classic. The Telugu version suffers further from awkward dubbing and flat songs, making the Tamil original the better bet.
Retro is a bold, visually stunning experiment that showcases Suriya at his best but falters under the weight of its ambitions. It’s a film that’s equal parts exhilarating and frustrating, a vibrant ride that runs out of gas. For fans of Tamil cinema and action dramas, it’s worth a watch, but temper expectations for a cohesive masterpiece.
