Rajaputhiran Movie Review

Set in the year 1991 in the rural backdrop of Ramanathapuram, Rajaputhiran revolves around a respected village elder, played by Prabhu, who showers unconditional love on his only son, Vetri. The father is so attached to his son that he doesn’t even want him to take up a job, hoping to shield him from the hardships of life. However, the story takes a turn when Vetri chooses to break out of his cocoon in search of life’s meaning. In the process, he stumbles upon a web of criminal activities that leads to a shocking revelation.

From the very beginning, it’s clear that the film tries to recreate the flavor of 90s rural dramas. While the intention is appreciable, the execution is severely lacking. The story feels outdated and wafer-thin, riddled with clichés and devoid of emotional depth. The father-son relationship, which should have been the emotional core of the film, is barely explored with any nuance. The screenplay is weak, disjointed, and unable to maintain momentum. Scenes drag unnecessarily, and the transition from one plot point to another feels awkward and unpolished. Even the so-called twist or emotional high point lacks impact, making the second half of the film feel hollow and directionless.

Performance-wise, even experienced actors struggle to leave a mark. Prabhu, though naturally charismatic, is stuck in a flat, one-dimensional role. His character has no growth or complexity, and he is restricted to being a sentimental father with no real arc. Vetri, as the son, delivers a forgettable performance. While he shows occasional sincerity, the poor writing offers him no space to shine. Supporting actors like Krishna Priya, Komal Kumar, and Livingston are wasted in underwritten roles that add no value to the story. Their presence feels more like fillers than important contributors to the narrative.

Direction by Mahaa Kandhan lacks vision and craft. The film suffers from amateurish staging, awkward camera placements, and poorly composed scenes. There’s a theatrical feel to the way characters are blocked in front of the camera, often breaking the cinematic experience. Emotional scenes are mishandled, either by stretching them out too long or failing to find the right tone. Instead of invoking nostalgia, the film ends up looking like a dated mess with no awareness of current storytelling sensibilities.

Technically, the film is below average. The cinematography is inconsistent, with some scenes poorly lit and awkwardly framed. Editing is a major drawback, as many sequences overstay their welcome, dragging the already sluggish narrative. The music and background score are completely forgettable, offering no memorable moments or emotional weight. Worst of all are the dialogues, which are bland, uninspired, and in some places downright cringeworthy. They fail to elevate the performances or the mood of the scenes.

What little positivity exists in the film comes from the rural setting, which could have been nostalgic if backed by a stronger script. Prabhu’s natural screen presence does lend a bit of gravitas, but it’s nowhere near enough to save the film. Unfortunately, these minor positives are drowned out by a flood of problems — poor writing, outdated themes, sluggish pacing, weak direction, and technical mediocrity.

In the end, Rajaputhiran feels like a film stuck in time, trying to recreate an era without understanding what made those films work. It’s not just about showing a rural backdrop and playing sentimental music; the story and execution must resonate with today’s audience. With nothing to hold your attention, this film is more of a cautionary tale on how not to make a period drama. Despite its runtime of 2 hours and 19 minutes, Rajaputhiran fails to deliver a single engrossing moment.