Dorothy review: A bold tale of love, identity and toxic masculinity

CHENNAI: What happens when the person you have known all your life becomes someone society refuses to accept? Dorothy takes that question and places it inside a 1990s village, where masculinity has rules, emotions have boundaries and anything outside the accepted norm is treated with suspicion. Karthik Subbaraj delivers a bold, raw and deeply unsettling tale of friendship, gender identity and toxic masculinity that refuses to offer easy answers and that discomfort is what makes it worth engaging with.

The film challenges audiences to confront their own prejudices, making for an experience that is thought-provoking. The film follows childhood friends Karthi (Rishikanth) and Subbu (Sananth), growing up in a village where masculinity is measured through violence, dominance and the ability to suppress emotions. While Karthi is initially timid and easily frightened, Subbu is fearless, teaching his friend to fight and stand up for himself, often drawing inspiration from Bruce Lee, an icon for many children of the 80s and 90s.

Ironically, as they grow older, their personalities undergo a striking reversal. Karthi becomes rowdy, while Subbu finds himself struggling with his identity and emotions.

The film's village setting becomes an integral part of its storytelling. The casual objectification of women and the recurring assertion that crying is a feminine weakness expose how deeply toxic masculinity is embedded across generations. The question raised by Karthi's mother, questioning whether crying is exclusively a woman's trait, becomes particularly significant.

Rishikanth, who has been gaining attention with Modha Rathiri, makes an impression as Karthi. He convincingly moves from the frightened boy we see in his childhood to a man shaped by violence and the very “masculinity" he once seemed distant from.

Karthik Subbaraj’s writing repeatedly questions the conditioning of men. The casual “Why are you crying like a woman?” attitude passes from older men to younger men and even children. Karthi’s line to Subbu, “Evana venum nalum adi, thooki potu kollu, ana dheiva senju azhatha da,” becomes another reflection of how crying is treated as weakness when associated with femininity. Against this is Karthi’s mother questioning why crying should belong only to women.

Through Subbu's gender transition, Karthik Subbaraj explores transgender identity, societal taboos and the misinformation surrounding transition in that era. A particularly striking encounter between Karthi and a transgender woman, played by Jeeva Subramanian, carries the film’s message forward. Having earlier faced mistreatment from Karthi, she tells him, “Innum 10 varshathula nanga tha normal, intha ooru ungala kevalama pakkum.” It is a powerful reminder of how society's idea of normalcy can change. Karthik Subbaraj handles these themes with remarkable audacity, refusing to soften the realities of prejudice and discrimination.

The cinematography is another major strength, with striking visuals lending weight to the film's raw storytelling. Ilaiyaraaja's music and background score elevate the narrative, particularly during the moments when Karthi and Subbu reunite. The placement of Muthumani and the brief use of his classic songs add to the nostalgic atmosphere, transporting the audience back to the era.

Keerthy Suresh, as Dorothy, Subbu’s brother’s wife, appears for a limited period but leaves an impression. Initially viewed through the objectifying description of a “doll”, Dorothy gradually reveals warmth and compassion. Keerthy handles the role with tenderness, although the character could have benefited from more screen time. She is an angel who disappears too soon.

Sananth, however, emerges as one of the film’s biggest surprises. His performance before the interval establishes Subbu as the confident friend from childhood, making the later revelation about her identity more affecting. The transition into the post-interval portions could have been more intense, as the film moves into that crucial phase rather abruptly. Still, Sananth carries Subbu’s vulnerability through her body language, expressions and feminine energy. He makes the internal conflict visible without relying only on dialogue.

The relationship between Karthi and Subbu ultimately becomes the film’s emotional centre. Karthi is caught between rejecting, protecting and accepting the person his childhood friend has become, while slowly confronting feelings that transcend the gendered boundaries he has been taught to follow.

Dorothy may not be a comfortable watch for everyone, but Karthik Subbaraj deserves credit for confronting toxic masculinity, transgender prejudice and society’s obsession with defining what is normal.