- Published on
Rathnam Movie Review
Itâs the peak of summer, and the cinemas are experiencing their own dry spell. Amidst this, Rathnam was released. As a film directed by Hari, it should have ideally attracted a significant audience. However, that wasnât the case. Even the re-screening of Ghilli had more reservations, while seats for Rathnam remained vacant and it quickly moved to OTT platforms. Despite all the signs pointing towards a flop, I decided to watch it, given itâs a Hari film (a point Iâll be repeating throughout this blog). But Iâm left in a dilemma, unsure whether to label it as one of the worst films, Hariâs worst film, or not a Hari film at all.
Whether you liked it or not, Hari had a distinctive style; he had his own blueprint; he had his own formula. It was pure, untouched, and distinct from the rest. However, this film shattered all of that. Apart from the title card near the temple declaring it as a Hari film, there was nothing else to suggest it was one. Even the chosen shot and temple could have been improved. The geography of the film, unlike his other works, wasnât well-defined, merely hinting at being somewhere around the borders of Tamil Nadu and Andhra Pradesh. There were some initial shots showing contrasting symmetry along the border - lush greenery on one side and weeds on the other. âThenmerku Paruvakatruâ explores similar themes. But it had no relevance to the film.
Numerous correlations are established and linked much later in the film. A gang resembling âhawariaâ orchestrates a brutal accident for their heist; human body parts are scattered and stored in various locations, reminiscent of Director Balaâs style. A schoolgirl is subjected to molestation. A woman, estranged and with a child, navigates her way through a market area. At this point, we have no other option but to patiently observe how these elements intertwine.
Recall Vijayakumarâs ministerial role in the Singam universe. In this context, Samuthirakani is an MLA in Tamil Nadu. Thereâs also an MLA role in Andhra Pradesh, but it was filled by producer Karthik Subburajâs father, leading to Director Hariâs father-in-law, Vijayakumar, being relegated to a minor role. The casting of the young version of Rathanm gave me the impression that Avan Ivan Vishal would appear, but after seeing a few of his fight scenes in arid landscapes, I felt like I was in Muthaiahâs cinematic universe, Maruthu. GVM appears in a Hari movie for the first time. Itâs only a single scene, but itâs enjoyable to watch. Priya Bhavani Shankar is charming as always, but the audience is left wondering if she is the lead actress or if someone else will appear, as there are no duet songs or scenes. This is quite atypical for a Hari movie. Usually, thereâs a hero introduction song, or a heroine introduction song (as in Ayya), followed by a one-sided love song, and then a full-fledged song near the climax.
Recently, I learned that Lokesh Kanagaraj is a source of inspiration for Hari, which might explain the current trend. However, this shift may not be beneficial. If thereâs one lesson Hollywood could take from Indian cinema, itâs the art of integrating songs into films. More insights on this will follow later.
In an era where new GenZ relationship terminologies are being coined daily, Hari introduces a novel relationship dynamic in this film. This leads to ambiguity about whether Priya Bhavani Shankar is the lead actress or not. Questions arise about her relationship with Vishal - is she his estranged sister, biologically related to him in some other way, or merely a doppelganger of Vishalâs mother? Despite PBS showing interest in Vishal, he consistently places her in the sister or mother zone. This situation is reminiscent of Karanâs âKaruppusamy Kuththagaithaararâ, where Karan zones himself as a mother and battles others to ensure her admission to medical school.
The film includes segments that involve discussions about and with Brahmins. Itâs unclear whether these are intended as subtle satire or serious commentary, but they appear to target this particular group. Depending on your perspective, you may find these parts offensive or extremely amusing. If youâre a fan of Pa Ranjithâs films, SVK podcasts, or Plip Plip, you should definitely watch this movie, at least for these segments.
Hari and his films have always been well-received by Kollywood, both in terms of box office success and critical response. Hari has also been sportsmanlike in accepting these criticisms. The internet has generally been kind to him. However, this particular experiment of his has been a colossal failure. Overall, itâs a good movie to enjoy while having a drink or a roast session with friends.