Santhakumar, the visionary director with a penchant for intriguing titles, has once again graced the silver screen with a film that intrigues in nomenclature and aspires to resonate deeply with its thematic fabric. In keeping with his penchant for meaningful film titles, Santhakumar christened his most recent endeavor “Rasavathi” (The Alchemist), which cleverly embodies its core theme while reflecting the journey of its central character.
“Rasavathi” introduces us to a gentle yet perspicacious Siddha practitioner, Sadasivapandian, portrayed with poignant subtlety by Arjun Das. His life intersects with that of Kodaikanal’s recently appointed law enforcement officer, Inspector Parasuraj, played by Sujith Shankar, whose unresolved psychiatric ailments cast a shadow over his actions. As these two men navigate their existences, Surya, a newcomer to the town, assumes the role of a resort manager. Effortlessly portrayed by Tanya Ravichandran, Surya forms an alliance with Sada that soon becomes a thorn in the troubled Inspector Parasuraj’s side. The ensuing chaos appears, on the surface, to be a simple case of one man’s jealousy – but there are deeper layers waiting to be uncovered.
Riveting in its narrative is the convergence of the characters’ pasts, evoking the alchemical pursuit of transmuting base metals into gold. Each character ambitiously strives for self-improvement. Sadasivapandian, endearingly known as Sada, after enduring a traumatic history that scarred him physically and psychically, now resides in a tranquil sanctuary where he dedicates himself to human betterment through his medicinal knowledge. In contrast, the distressed Parasuraj grapples with childhood agony, which manifests periodically in outburst and actions that often lead to destruction.
The film dedicates itself to delineating the stark dichotomy between the protagonists: the healer Sada, who lends a helping hand to the sick and the wounded, versus the hurtful Parasuraj, who inflicts pain, whether at home through emotional avenues or physically when on duty. The narrative underscores this through vivid everyday encounters, juxtaposing scenes where Sada’s compassion shines, and where Parasuraj’s harshness stings, dividing the characters as night and day.
Nonetheless, the journey of Surya and the peripheral roles played by others, such as the characters portrayed by Ramya and GM Sundar, fall short of providing substantial depth to the storyline. The former’s narrative exists predominantly for comedic relief, yet the laughter often misses its mark. The film accelerates in intensity during its second half, unveiling many mysteries and presenting us with a promising debut performance from Reshma Venkatesh. However, an intriguing conflict and rich character revelations lead to a climax that regrettably succumbs to predictability.
There are indeed memorable moments to be recognized in “Rasavathi.” The subtle symbols, such as the appearance of an albino cobra potentially indicative of the god Shiva – often associated with Siddha medicine – ask the viewers to probe deeper into its allegories. The dialogues, occasionally novelistic in stature, often land with impact, and visual references to Santhakumar’s prior works, along with self-reflective commentary on critics and literature aficionados, pepper the narrative.
What breathes life into this rather traditional approach to storytelling are the stellar performances of Das and Shankar, supported by Thaman’s evocative score and the cinematic brilliance of Saravanan Ilavarasu’s lens work. But even with these elements, the film suffers from a lethargic pacing born out of a slender plotline fleshed out with extraneous characters and sequences.
The film broaches a litany of sensitive issues, from abuse to suicide, warranting an array of trigger warnings. However, despite its numerous attempts at weaving a multifaceted narrative, “Rasavathi” fails to revivify the well-trodden path of revenge tales. Echoing a sentiment overheard during my screening, one could draw parallels to older tales like “Dhill,” illustrating that “Rasavathi,” though rich in its historical character backstories, remains intrinsically a reflection of tales from bygone eras, eliciting little in the way of novel excitement or emotion.
As “Rasavathi” plays out in theaters, one finds oneself contemplating the irony of its title. Just as alchemists sought the secret to eternal life and the conversion of common metals into gold, the filmmaker endeavors to transform a lineage of cinematic tropes into something rare and precious. Yet, perhaps, the true alchemy lies not within the lead character’s journey in the film but within the hearts of the audience, as they sift through layers of narrative, seeking golden kernels of cinematic truth.
For those who may find themselves moved or affected by the darker themes in the film, resources for overcoming such thoughts can be found through State’s health helpline 104, Tele-MANAS 14416, Sneha’s suicide prevention helpline 044-24640050, and numerous other helplines located here.
