Retro Movie Review

Retro is the latest film starring Suriya, arriving shortly after the underwhelming response to his previous outing, Kanguva. Directed by Karthik Subbaraj and set against a vintage backdrop, Retro hit theatres today amid much curiosity about whether Suriya could bounce back with this film. Backed by 2D Entertainment and Stone Bench, the film attempts a nostalgic narrative but falls short on execution.

Plot Summary:
Retro is set between the 1960s and 1990s and follows the journey of Parivel Kannan (Suriya), an orphan. Though Tilak Raj (Joju George) dislikes him, Parivel is taken in and cared for by Tilak’s kind-hearted wife, Sandhya. She grows concerned over Parivel's inability to smile, which becomes a symbolic part of his character. Around the same time that Parivel loses Sandhya, a young woman named Rukmini (Pooja Hegde) loses her mother. Their shared grief brings them together.

Fourteen years later, Parivel and Rukmini reconnect and decide to get married. They dream of starting a peaceful life in a new place. However, fearing that Tilak Raj’s life may be in danger without his presence, Parivel hides a secret consignment known only through a code — "Gold Fish".

In an effort to force Parivel to reveal the location of the hidden goods, Tilak Raj goes as far as threatening Rukmini’s life. To protect her, Parivel injures Tilak and ends up in prison. Upon learning that Rukmini has moved to a remote island in the Andamans out of anger and disappointment, Parivel escapes from jail and sets off to find her.

The island is ruled by Rajavel (Nassar) and his son Michael (Vidhu), and the local community lives under their influence. The villagers believe that their temple, dedicated to a local deity, will only open when someone bearing a sacred trident-shaped mark appears — a sign they believe will change their fate. They await this person with hope.

As Parivel arrives on this perilous island, he is thrust into a world filled with superstition and hidden danger. What awaits him there? Are the islanders truly waiting for him? And what exactly is the secret behind the “Gold Fish” code? These questions form the crux of the story.

Analysis:
There’s a well-known saying — “Too many people spoil the broth.” Retro is a prime example of this. In storytelling, too many plot twists or an overabundance of characters often cause more harm than good. This film is the latest addition to a growing list of movies where cluttered storytelling outweighs meaningful narrative.

In any compelling story, the hero typically faces one central conflict that drives the plot. However, Retro burdens its protagonist with multiple unresolved issues, pulling the narrative in too many directions. As a result, none of the subplots receive the depth or closure they deserve. The heroine wants to see the hero smile, but he doesn’t. The hero wants the heroine to trust him, but she doesn’t. This circular emotional tug-of-war goes nowhere.

From the heroine storming off to an island in the Andamans to the hero turning up there as a "laughing doctor", and the exaggerated cult-like behavior of Michael, many developments feel overly dramatic and far from realistic. Among these, the intense action sequences come across as more engaging than the unconvincing emotional or humorous scenes — particularly the “laughing therapy” segments, which lack impact.

The biggest drawback is the poorly defined character arcs. None of the characters are developed with care; instead, they are hastily introduced and dropped, weakening the overall narrative. Rather than building depth or connection, the film simply moves from one loosely sketched moment to another.

Performances:
Suriya is cast in a role where he barely smiles, supposedly for a reason that’s never convincingly explained. This emotional flatness offers no added value to the plot. Pooja Hegde has little scope beyond serving as a plot device, and her glamour is toned down, likely to match the period setting. Joju George, Nassar, and Prakash Raj play half-baked antagonist roles, appearing in rapid succession with no strong impact. Even Jayaram is underutilized. The sheer number of characters dilutes their individual significance.

Technical Aspects:
Karthik Subbaraj’s writing lacks originality, and his direction struggles to maintain tonal or narrative consistency. The film frequently jumps across time periods, often confusing viewers about when events are taking place. The villain transitions—Joju to Prakash Raj to Nassar to his son—create further narrative clutter.

Santhosh Narayanan’s background score is passable, though the songs feel generic and uninspired. Lyrics seem like an afterthought. Shreyaas Krishna’s cinematography is decent, but not standout. Editing by Shafique Mohammed Ali could have trimmed several unnecessary scenes that add nothing to the story.

Final Verdict:
Retro is a film overwhelmed by its own ambitions. With too many characters, convoluted subplots, and half-baked emotional arcs, it fails to deliver a coherent or engaging experience. Despite a powerful cast including Suriya, Pooja Hegde, Prakash Raj, and others, the film doesn’t leverage their potential. By the end, even the characters laugh maniacally on screen—and unfortunately, the audience might be left with a similar, bewildered expression.