Dorothy: Unconventional, Daring and rooted in rurality

Cast: Sananth (Subbu), Rishikanth (Karthi), Keerthy Suresh (Dorothy) & more

Music: இளையராஜா

Director: Karthik Subbaraj

Major Takeaways

1. A cast that has given their heart and soul to their respective roles.

2. Dorothy proves that a commercial film can be unapologetically opinionated without compromising its entertainment value.

Review:

Dorothy is set in the 1990s, against a backdrop of caste, violence and toxic masculinity. The story follows Karthi and Subbu, soul brothers whose lives change with the arrival of a woman named Dorothy. At its core, the film explores how human prejudices, dignity and deeply ingrained social conditioning shape the lives of individuals.

Dorothy begins in quintessential Karthick Subbaraj fashion: no-nonsense dialogues and an immediate plunge into the narrative. We are introduced to a grieving Karthi, although the reason behind his grief remains unknown. From there, the film takes us back to Karthi and Subbu's childhood, where the two first bond over a bullying incident and gradually grow into inseparable friends.

The portions that establish their friendship are handled exceptionally well. Their relationship never feels forced; the film takes its time to show how these two individuals become soul brothers.

Yet, from childhood itself, both Karthi and Subbu are conditioned by caste and toxic notions of masculinity that inevitably push them towards violence. Their teenage years gradually transform them into individuals who have little regard for life, eventually becoming local goons. Karthi's mother repeatedly attempts to pull him away from this path, while also providing a reality check rooted in their family's social position.

The film is particularly uncompromising in the way it portrays the treatment of women within this social environment. Women are often reduced to objects of sexual desire or domestic labour. The dialogues and situations establishing this reality are among the film's strongest moments, functioning as a rather uncomfortable mirror to the society it depicts.

Keerthy Suresh as Dorothy brings a certain finesse to the character. More importantly, Dorothy isn't merely positioned as a catalyst for the male characters; she challenges the very notions of masculinity that have shaped their lives. Her dialogues and confrontations with these ideas deserve appreciation.

Karthick Subbaraj also uses Dorothy to address caste arrogance, honour killings and the manner in which such violence extends beyond the immediate victims, affecting entire bloodlines and generations. These ideas are woven into the narrative through incidents rooted in the village and its social hierarchy.

And then comes the second half.

Anyone familiar with Karthick Subbaraj knows his penchant for genre bending, and Dorothy might contain one of his most unexpected turns yet. The film takes you somewhere you aren't quite prepared for, while using that shift to deliver some of its most pointed observations about society.

Anything more would venture firmly into spoiler territory, so I'll leave it there.

Technically, Dorothy is equally accomplished. Tirru's cinematography beautifully captures the contrasting landscapes from rural Madurai to the mountainous terrains of Karnataka and Gujarat. The visual language complements the film's changing moods exceptionally well.

And then there is இசை கடவுள் இளையராஜா.

His music adds another layer to the film and once again demonstrates why his musical sensibilities remain so distinctive. The placement of Muthumani is another delightful touch.

Ultimately, Dorothy is an out-and-out Karthick Subbaraj film: daring, provocative, entertaining and unafraid to voice an opinion. An absolute brilliance from Karthick Subbaraj and his entire crew. No complaints from my side whatsoever.

Do watch it in theatres near you.