Karthik Subbaraj’s Dorothy is not the film it appears to be. The pre-release material carefully creates the impression of a triangular love story, but the director cleverly conceals the real premise until the audience is well into the narrative. What unfolds is a raw, rustic and unconventional story about identity, masculinity, sexuality and the social pressures of growing up in a conservative 1990s village.
That surprise works in the film’s favour. But there is also an irony — for a film titled Dorothy, Keerthy Suresh’s character gets surprisingly little space.
Also read: Dorothy Movie Review: Karthik Subbaraj finds love and liberation in a story of toxic masculinity
More Subbu than Dorothy (Spoilers ahead)
Sananth’s Subbu is the real centre of Dorothy. The film spends considerable time exploring his childhood, teenage years and relationship with Karthi (Rishikant), rather than developing its title character.
Subbu is initially introduced as a macho local character and a Bruce Lee admirer. But there is a fascinating contradiction beneath that exterior. He is also shown doing household chores and becoming increasingly fascinated by Dorothy after she enters his household as his sister-in-law.
Some of his behaviour can initially appear odd, even creepy. But Karthik Subbaraj gradually reveals why these moments matter. Subbu’s relationship with Dorothy becomes the key to understanding his suppressed identity and the life he has been pretending to live.
That is where the film becomes much more interesting than its apparent love-triangle setup.
Keerthy Suresh’s less screen space
Keerthy Suresh deserves credit for taking up a role that is quite different from what one might expect from a leading actress. But the film does not give her enough material to make Dorothy a fully fleshed-out character.
We learn only fragments about her, and much of her importance comes from the impact she has on Subbu and Karthi. Her presence changes their lives, but the audience is not given enough access to Dorothy herself.
This is perhaps the film’s biggest weakness.
There is nothing wrong with an actor taking a comparatively smaller role, especially when it serves the story. But when the character carries the film’s title, one naturally expects more depth, emotional investment and screen presence.
A film about masculinity hiding something deeper
The strongest aspect of Dorothy is its treatment of masculinity. Subbu creates an exaggerated image of himself — a tough local man who behaves exactly as society expects a man to behave. But this macho persona is essentially a shield. Behind it is someone struggling to understand and express his true identity.
Karthik Subbaraj uses this contradiction to explore how difficult it was for someone in the 1990s to openly acknowledge their sexual identity. Instead of expressing himself, Subbu performs masculinity.
The film's treatment of caste divisions, rooster fighting and the rigid social environment further strengthens this idea. These aren't merely period details; they become part of the world that shapes Subbu's choices.
His longing to become a woman and the journey towards finding someone who can accept her for who she is form the emotional core of the film.
The film initially makes us believe that Dorothy could be a disruptive presence in the lives of Subbu and Karthi. But the narrative gradually turns that assumption on its head.
Dorothy becomes a catalyst. Her friendship changes Subbu, while Karthi too begins to follow a different path. The relationship between the two men eventually becomes more significant than the conventional romantic equation that the film initially seems to promise.
This is where Karthik Subbaraj deserves credit. He takes a familiar commercial-film setup and slowly turns it into something much more personal.
The treatment of Dorothy’s death is another striking element. What appears to be a suicide is eventually presented through Subbu’s perspective, adding another layer to the narrative.
The climax, in particular, refuses to settle for a conventional commercial resolution. It brings together the film’s ideas about identity, love and social conditioning without resorting to an overly familiar formula. It is not necessarily a climax designed to please everyone. But it is certainly one that stays with you.
A still from Dorothy
Ilaiyaraaja completes the period mood
Ilaiyaraaja’s music is perfectly suited to the film’s rustic world. His songs and background score evoke the 1990s so effectively that there are moments when the film feels like a forgotten period drama from that era.
The cinematography complements this mood, capturing the earthy textures of the village and giving the film an appropriately lived-in atmosphere. The technical departments collectively help Karthik Subbaraj create a convincing world.
Bold film
Dorothy is a bold attempt to tell a story that refuses to remain within the boundaries of a conventional commercial entertainer. Karthik Subbaraj cleverly disguises the real narrative, only to gradually reveal a story about masculinity, identity, caste and the struggle to live as one's true self. But the film’s greatest strength is also its biggest irony: the story belongs more to Subbu than Dorothy.
Keerthy Suresh’s performance and the significance of Dorothy deserved considerably more screen time and character development. That remains a frustrating missed opportunity.
Still, beneath the surface is a genuinely compelling story, and Karthik Subbaraj deserves credit for refusing to turn it into a predictable commercial drama. Dorothy may not be an easy crowd-pleaser, but its rawness, unusual subject and refusal to follow the expected formula make it an intriguing watch.
