Dorothy must be the first film I can remember opening with a title card for the music composer. The film opens with silhouette shots of music composer Ilaiyaraaja vibing among enthusiastic crowds, accompanied by a title card that reads, “Maestro Ilaiyaraaja”. In fact, the Director card, “A Karthik Subbaraj padam”, appears only at the end of the film, after an important freeze-frame moment.
To me, this is as much an Ilaiyaraaja film as it is a Karthik Subbaraj (KS) film. After a long gap, a filmmaker has handed Raaja an expansive, bare canvas to paint whatever he wants. Raaja grasps this opportunity and creates not just a colourful painting but a 3D sculpture. From the earthy background score to the theme music to the melodies, this is vintage Raaja. In every frame, he shows what is missing in the background scores of this era’s music directors. In general what you have today are scores that don’t match the film’s setting in terms of period, place, or subtext. Raaja’s music, songs, soundtrack, and theme music solidly underpin the film’s difficult theme and, more importantly, take us back to that era. Of course, the songs carry a familiar ring, reminding us of his other work. Yet there is no doubt that at crucial plot points Raaja elevates the film to a different level.
The film is set in the 80s in rural Madurai, a backdrop that is Director Subbaraj’s backyard, as most of his films are set here. Rain of cuss words, men indulging in cock fights, deaths and suicides of women being casually discussed by kids, etc., etc. – within a few minutes into the film, we are prepared for the overdose of toxic masculinity that would follow, or rather overflow, throughout the film. The last time we saw this kind of toxic masculinity in a film, I guess, was in the Malayalam film – Kumbalangi Nights! The presence of four men with no women around initially, and then one of them getting married and bringing a woman to the male-dominated household, reminds us of that film. Also, the “Raymond – The Complete Man” backdrop at an opportune moment. Those who have watched both these films will immediately get this.
The screenplay follows two boys as pre-teens, growing up in a toxic atmosphere and becoming young men with divergent behaviours. Did I say, men? Wait a minute. The story is more complex and harder to follow. One of the boys, Subbu, realises he has a feminine orientation. The challenge is coming out in a family that puts protecting its honour above everything. The shape the relationship between Subbu and the other boy (incidentally named Karthi) takes is the other strand of the story.
First up, for a theme and story like this, especially in Tamil, it is quite bold. It is not an easy topic to pitch your film on. Subbaraj, who co-wrote the story with Saravanan Chandran, knows well they are treading on possible landmines. Yet they take that leap of faith, and I must say, it pays off. After the interesting, pacy first half, the story lags for a long stretch while Karthi and Subbu are on the road. I found the climax a bit forced and contrived. I also found Karthi’s sudden change of mind and its lead-up inorganic. That doesn’t take away from many other things that work for the film.
Like KS’s filmmaking craft. Just as with Raaja for the music, KS makes the right choice for the cinematography. Tirru’s camera work brings KS’s framing ideas to life wonderfully. For example, the frequent use of tight rear-two shots. Similarly, the action sequence in a red sand field reminding us of the Thevar Magan climax. As the two people fight and move from left to right of the frame, the camera is static and doesn’t follow the action. We are left with a blank screen as red sand swirls across the frame. This kind of framing amplifies the intensity of the action sequence.
KS’s choice of old references is interesting. When we hear an audio ad for the Nayakan film in the background, a ‘Neega Nallavara, Kettavara?’ line is slipped in casually. Likewise, there is a reference to Mouna Ragam Revathy when the ‘Kambili poochi’ line appears. Not just in these lines, but in some shot compositions and framing, KS shows that he is an ardent fan of Mani Ratnam. In the past, I have always referred to KS as an overrated director. He always showed command of craft but not of content, which matters just as much. While Dorothy is a coming-of-age film, I would say KS, as a filmmaker, has also come of age with it. With hands firmly on the deck on every aspect of filmmaking, KS has finally shown why he needs to be watched.
The film takes its title from the Dorothy character played by Keerty Suresh. She has a small but impactful role and delivers it well. What happens to her and why is left as a missing link for the viewers’ imagination. The male protagonists, Karthi and Subbu, played by Rishikanth and Sananth, are intense in their portrayals. Sananth has a tough ask but performs creditably. The child versions of Karthi and Subbu also do well, and the film is at its best in that period.
Dorothy isn’t a run-of-the-mill commercial film you watch for entertainment. It tackles a bold subject and balances it well. It may not resonate with everyone and therefore may not work for all audiences.
I found the film fairly engaging and would call it a Good Watch. Dorothy is now streaming on Netflix.
My Flash Verdict: A Good Watch.
Postscript: The English subtitles on Netflix for this film are epic. In a dialogue that has “Malayalam film” in it, it is referred to as Bay Watch! And there are more.
i have not watched the movie yet. Your review creates that interest. Your review is complete in the sense that it covers all aspects of film making. You can definitely start your passion on film reviewing. Look fwd to that day!!!!