The opening scenes of “Raghu Thatha” transport viewers back to the vibrant and turbulent 1960s. As the opening credits roll, a series of newspaper clippings flash across the screen, documenting significant events from that era. The state of Tamil Nadu is depicted as fiercely protesting against the imposition of Hindi, with anti-Hindi slogans dominating public discourse. At the national level, Indira Gandhi has just made history by becoming the first female Prime Minister of India, a milestone that should ideally inspire a wave of confidence and freedom among women across the country.
However, for Kayalvizhi, growing up in the small village of Valluvanpettai in Tamil Nadu, the reality is starkly different. The first glimpse we get of Kayalvizhi, portrayed by Keerthy Suresh, is of her wearing a shirt and defiantly telling her mother, who urges her to dress more traditionally: “Ponna adakamalan iruka mudiyathu” (I’m not interested in being a proper lady). Her voice is resolute and unyielding, reflecting the deep-seated defiance that marks her character. This act of rebellion isn’t new to Kayalvizhi; it seems as though she has had to push back against societal expectations countless times.
This rebellious spirit persists throughout her life, both in private and public spheres. Kayalvizhi is actively involved in the anti-Hindi protests in her village, her leadership contributing to the closure of a local Hindi prachar sabha, to the chagrin of some townsfolk. This streak of defiance is not purely coincidental; it is a trait she has inherited from her grandfather, played with impeccable finesse by MS Bhaskar.
The titular character, “Raghu Thatha,” is derived from a comical one-liner in the 1981 Tamil film “Indru Poi Naalai Vaa.” Bhaskar’s portrayal of the grandfather is central to the narrative, illustrating a profound bond with his granddaughter Kayal, a connection stronger than what she shares with her own parents. This relationship is put to the test when her grandfather asks her to undertake a task that stands against her own wishes. The film revolves around whether Kayalvizhi will comply with her grandfather’s request.
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“Raghu Thatha” excels through its irreverence and humor. Even scenes with a more serious undertone are infused with a hefty sprinkle of humor, providing comic relief and mitigating any potential heavy-handedness. Humor is not limited to the lead characters alone; Kayal’s brother’s wife, who has minimal screen time, manages to leave the audience in splits with her witty retorts. Additionally, two small-town criminals steal the limelight in one particular sequence, and MS Bhaskar regularly delivers straight-faced, humorous lines that are sure to elicit laughter.
While Ravindra Vijay convincingly plays the role of Selvam, the film could have benefited from trimming some of the initial conversations between Kayal and Selvam. His character undergoes a significant change in attitude as the story progresses, but this transformation is not as clearly explained as it could have been.
The directorial expertise of Suman Kumar, known for his writing on hit series like “The Family Man” and “Farzi,” is evident in “Raghu Thatha.” Though the film adopts a laid-back approach in the first half, it compensates with a thrilling roller-coaster final 20 minutes that are sure to bring a smile to viewers’ faces. Sean Roldan’s musical contribution cannot be ignored; the soundtrack enhances the narrative’s vibrance, with tracks like “Poruthhiru Selva” sung by SP Charan adding a delightful touch. The song brings a sense of nostalgia for SP Balasubrahmanyam (SPB), whose voice is dearly missed.
At the heart of “Raghu Thatha” is Keerthy Suresh, delivering yet another compelling performance. Her portrayal of Kayalvizhi is genuine and natural, making even the more thematic sequences feel less burdensome. Much of the film focuses on her simply existing in her role, a testament to her acting prowess. It is Keerthy’s authentic representation that brings depth to the character and makes the film resonate with the audience.
“Raghu Thatha” is currently screening in theaters, and it stands as a testament to the evolving landscape of Tamil cinema, blending satire, humor, and compelling performances into a memorable cinematic experience.
