Raghu Thatha review: A mostly engaging drama elevated by its brilliant cast

I was looking forward to watching Raghu Thatha—the promotional materials, from the marketing to the intriguing teaser and trailer, had me hooked. But to be honest, the film fell a bit short of my expectations.

That said, as Prakash Raj mentioned at the recent Raayan audio launch, we should appreciate the movie for what the filmmaker intended rather than imposing our expectations on it.

Well, with Raghu Thatha, there’s no certainty in how the story will unfold. At times, it’s quirky, while at others, it takes a completely different turn.

Writer Suman Kumar, known for The Family Man, Guns & Gulaabs, and Farzi, makes his directorial debut with the Keerthy Suresh-starrer.

The title Raghu Thatha is derived from K Bhagyaraj’s Indru Poi Naalai Vaa (1981) likely made after this story’s timeline. Given the ongoing debate about freedom, the release of Raghu Thatha on Independence Day is no coincidence.

Set in the late 70s, Raghu Thatha takes us to the small town of Valluvanpettai in Tamil Nadu. The film focuses on 25-year-old Kayalvizhi Pandian (Keerthy Suresh), who lives with her parents, brother, and her beloved grandfather (played by MS Bhaskar).

Kayalvizhi is a bank employee and activist who also writes and publishes novels under the pen name, Ka Pandian.

Kayalvizhi is stirred by issues such as patriarchy, the imposition of Hindi, and child marriage.

Here, Suman Kumar carefully establishes her traits; for example, when questioned about wearing shirts, she asks why they should be reserved for men. When someone says, “A girl should be like that,” she retorts, “I’ll break your head.”

It’s clear that Suman Kumar aimed to avoid making an ordinary film; instead, he includes delightful surprises throughout. It works most of the time but falls short in key moments.

A dying grandfather has three final wishes—to eat Chennai Buhari Biryani, to take a photo with MG Ramachandran, and to see his granddaughter get married.

Also Read: Samantha played a beautiful role effortlessly in ‘Theri’: Keerthy Suresh

Too many subplots

Raghu Thatha includes numerous subplots, each deserving its own story. One aspect involves Kayalvizhi and her grandfather opposing the imposition of Hindi, to the extent that Kayalvizhi refuses to take Hindi exams for a bank promotion.

There’s a line in the film where Kayalvizhi clarifies that she isn’t opposed to the language itself but resents its imposition. What she dislikes is how Hindi is being forced upon the residents of Valluvanpettai, where she lives.

Another aspect is that Kayalvizhi shows different sides of herself to different people. Some encounter her bold demeanour, while others see a more submissive side.

Additionally, there’s a subplot where she plays a key role in shutting down the Ekta Sabha.

Does Raghu Thatha effectively weave all these dense subplots into a cohesive film? The answer leans more toward no than yes. It feels like a bunch of interesting ideas that don’t quite come together satisfyingly.

Kayalvizhi initially rejects the idea of marriage. After meeting an old friend at an eatery and seeing how basic things, like talking to friends, are restricted, Kayalvizhi decides that marriage is not for her.

Although Kayal relishes her writing success and independence, persistent parental pressure to marry undermines her happiness.

Given the circumstances at home, she chooses Tamilselvan, played by Ravindra Vijay, who pretends to be a progressive thinker.

Aruge Vaa Kanmaniyae! ✨🤩

Catch #RaghuThatha in cinemas now!
This Independence Day, enjoy a wholesome entertainer with your loved ones.@KeerthyOfficial @hombalefilms @vkiragandur @sumank @vjsub @yaminiyag @RSeanRoldan @rhea_kongara @editorsuresh @tejlabani @mdeii… pic.twitter.com/Chwia9o9kO

— Hombale Films (@hombalefilms) August 15, 2024

Inconsistencies, too

Kayalvizhi, like the film, is a bundle of contradictions. And that’s where it feels slightly off.

Raghu Thatha explores individual identity, yet ultimately, the protagonist is compelled to conceal her female identity while writing her novels.

Another example is that while Kayalvizhi is depicted as a rebel, she refrains from voicing her opinions at home regarding her wedding (without delving into the reasons).

Another instance is that Kayalvizhi shows no concern for her father when he threatens self-harm, yet she deeply cares about her grandfather’s well-being.

Kayalvizhi does not tolerate patriarchy, yet she becomes meek when it comes to standing up to her fiancé.

Despite her fight against Hindi imposition and her adherence to Periyar’s principles, she doesn’t hesitate to take a Hindi exam for her convenience. These inconsistencies make Kayalvizhi seem unsure of her values, rather than reflecting creative choices or twists.

Raghu Thatha begins with Kayalvizhi making a series of difficult choices as she depends on which issue is more important. The screenplay mixes politics, feminism, patriarchy, and social themes with convenient writing choices in places.

Does Kayalvizhi’s struggle to decide between principle and patriarchy come from discovering a man’s true colours or is it the discovery of a man’s true colours?

At times, it feels as though Suman Kumar has numerous puzzles to solve to find the answers. While it pays off to some extent, the film becomes quite confusing, especially toward the climax.

This one is a favv! What a cool Retro Rock this is!🔥 https://t.co/728Vs5aYoD

— Keerthy Suresh (@KeerthyOfficial) August 14, 2024

Climax stands out

However, I enjoyed several one-liners and sharp dialogues, including a notable remark by Kayalvizhi’s sister-in-law, in an important scene. Some are cleverly written, particularly those involving Ravindra Vijay at the eatery during the family gathering.

What stood out most was the climax, where a young man named Kamal Haa… appears (we all know who that refers to). It’s quirky and an ending no one would have expected.

The ending of Raghu Thatha reminded me of K Balachander’s Aval Oru Thodarkathai (1974). After the upheaval, the protagonist calmly resumes her routine, with no trace of the earlier turmoil.

In Aval Oru Thodarkathai, Sujatha’s character boards a bus, while in Raghu Thatha, Kayal is depicted as content, interacting with a fledgling technician.

A tailor-made role for Keerthy Suresh

Raghu Thatha’s primary weakness is the lack of a clear central conflict. The script fails to challenge characters with tough choices, leaving Anand Sami’s arc one-dimensional.

Blending external and internal conflict is vital for driving the story, deepening characters, and advancing the plot. In Raghu Thatha, societal pressures, cultural norms, and expectations from peers and parents could have fueled conflict, but this potential was missed.

The film equally missed an opportunity to explore how so-called progressive men can be more dangerous and harmful than overtly patriarchal ones.

Kayalvizhi is interestingly written, and Keerthy Suresh underplays the role brilliantly, showcasing why she’s perfect for it.

Ravindra Vijay had a great time with his role—I enjoyed his antics as much as he seemed to enjoy playing the part.

Audience reactions to specific scenes reveal the depth of stage work and writing.

The film’s charm, certainly, lies in its characters, brought to life by the actors—Devadarshini, Rajeev Ravindranathan, Chu Khoy Sheng, and Ismath Banu.

Full credit to Sean Roldan for his effective background score and to Yamini Yagnamurthy for a colour palette reminiscent of old photographs.

Final take 

After Mahanati (2018), Raghu Thatha is another film that showcases Keerthy Suresh beautifully—from her saris and sunglasses to her ribbons and simple bangles.

Suman Kumar has a knack for making artifice seem real, which is a success in itself.

(Views expressed here are personal.)

(Edited by Y Krishna Jyothi)

(South First is now on WhatsApp and Telegram)