‘Dorothy’ Review: Karthik Subbaraj Delivers a Stunning, Violent Challenge to Patriarchy and Caste

“Dorothy” is an explosive, violent and stunning film in Tamil by Karthik Subbaraj about the epic friendship between two men, Subbu and Karthik. The male buddy film genre is celebrated in Indian cinema and universally, but “Dorothy” flips stereotypes with a big twist midway that sorely tests their friendship.

As a schoolboy, Subbu is a tough Bruce Lee fan and knocks down bullies, impressing the wimpy fan-boy Karthi. They are treated with unexpected kindness by Dorothy (Keerthy Suresh), who marries into Subbu’s family, but after a tragedy befalls her, Subbu is deeply affected and so transformed that the father orders Karthi to kill Subbu, his childhood buddy, to save their family’s ‘honor’. The men’s relationship journeys into friendship, and something deeper, that strongly critiques the violent patriarchy and toxic masculinity in our society. Pa. Ranjith and Mari Selvaraj, too, have long interrogated caste in Tamil cinema, in films such as “Sarpatta Parambarai,” “Pariyerum Perumal” and “Karnan.”

Subbaraj, one of the brightest younger-generation Tamil directors, is also a big fan of Bruce Lee, Quentin Tarantino, and older Tamil stars. And “Dorothy” is among his most courageous and finest films. A mainstream narrative complete with action, thriller elements, romance, and song and dance, he powerfully critiques patriarchy, gender discrimination and especially the caste system, raising philosophical questions between the earth and the sky. But there’s humor too; he even has a hilarious Star Wars music tribute at a wedding. His previous films, including “Pizza” (2012), “Jigarthanda,” “Petta,” “Iraivi” and “Jigarthanda DoubleX,” have long established his fierce talent, and this film also collapses the boundaries of a mainstream film and an arthouse/festival film.

Subbaraj’s direction is masterful, as he explores the cycle of violence with victims turning perpetrators—but also has characters like ‘Whistle Veeraiya,’ who communicates only by whistling. Sananth (Subbu; “Mahaan,” “Petta”), and Rishikanth (Karthi; “Coolie,” “Irumbu Thirai”), bring warmth and depth to their roles, superb foils to each other, while Keerthy Suresh (“Mahanati,” “Dasara,” “Maamannan”) is quietly luminous.

Olympic levels of violence and misogyny are ABC for Tamil cinema, without which films are seen as baby food puree. “Dorothy” addresses caste, and it is significant that the production house is Dhammam Films, based on Buddha’s Dharma. A daring, courageous and epic film, it is also a deeply philosophical film that questions what makes a man, what makes a woman, and why we should remain the way we are. In fact, by asking for a more compassionate approach, daring in a right-wing society, it throws a Molotov cocktail. Maestro Ilaiyaraaja’s music elevates the film with a wide range, including the hypnotic “Muthumani” climactic song.

A key transformation does ask the audience for a leap of faith, but the screenplay comes from a space of profound empathy and daringly demands equality and acceptance for all in our deeply hierarchical society; S. Thiruvanukarasu’s cinematography is brilliant, including a bravura single-take sequence leading to the revelation of tragedy at its midpoint. Ganesh SSiva’sediting deftly combines parallel stories and timelines. Don’t miss this film!