Raayan is a significant film, marking Dhanush’s 50th project and one where he takes the director’s chair, showcasing his vision and prowess. Unlike typical milestones, Dhanush fully embraces this moment, focusing on creating a cinematic experience centered around his multifaceted skills. Despite being the star, Dhanush’s character, Kathavaraayan, remains in the background initially, letting his siblings shine. Muthuvelraayan (Sundeep Kishan) and Manickavelraayan (Kalidas Jayaram) have powerful entrances, while their sister, Durga (Dushara Vijayan), stands out as the backbone of the family. In contrast, Dhanush’s introduction is subtle, depicted as simply cooking fried rice, hinting at deeper layers to his character.
The film opens with a beautifully shot black-and-white flashback, establishing why the eldest Raayan brings his siblings to the city, seeking a better life. The younger versions of the Raayan brothers set the stage for a gripping revenge drama. As the family navigates through life amidst gang wars involving Durai (Saravanan) and Sethu (SJ Suryah), and a cunning cop (Prakash Raj), tension builds, leaving the audience to wonder when the true Raayan will emerge.
The Raayan household, much like their lives, is unfinished and in need of repair, symbolizing their ongoing struggles. The first half of the film is dedicated to setting up the characters and their dynamics, with Dhanush’s character remaining a mystery. Manickavelraayan’s desire to step out of his brothers’ shadows and Muthu’s hot temper are focal points, driving the narrative forward. However, once Kathavaraayan steps in to protect his family, the film risks becoming a typical revenge story. A twist reinvigorates the plot but also exposes some of the film’s shortcomings, leaving the audience questioning the depth of the characters.
Despite attempts to develop these characters through scattered dialogues, there is a sense that we never fully understand them. Interestingly, the less explored characters make a more lasting impact. Dushara Vijayan’s performance stands out, driving the narrative with her compelling portrayal. Selvaraghavan as the guardian angel and Aparna Balamurali, who delivers the film’s pivotal dialogue, add significant value. Devadarshini, in a brief role, makes a striking impact. SJ Suryah, in a restrained role, excels but is limited by some writing choices that prevent his character from being as menacing as intended. These writing choices, along with a few others, hinder the film from reaching its full potential as a compelling family drama. The explosive confrontations between characters, although visually impactful, lack the emotional depth to make a lasting impression.
What truly elevates Raayan is Dhanush’s direction and the cohesive effort of the entire production team. The film benefits from precise staging, allowing the characters to breathe and reflect in quieter moments. Editor GK Prasanna and cinematographer Om Prakash enhance the film’s visual appeal, especially in complex scenes where every movement is clear and purposeful. Prabhudeva and Baba Baskar’s choreography adds style without compromising raw emotion, while Peter Hein’s stunt choreography is impactful without overstaying its welcome. AR Rahman’s score ties everything together, enhancing the film’s atmosphere and elevating it to another level. “Isn’t this the Rahman we have been wanting for a while now?”
Despite these strengths, Raayan falls short of soaring to its full potential. The film boasts excellent performances from a talented cast and a top-notch technical team. The premise holds promise for a no-holds-barred revenge drama, but the film pulls back at crucial moments, diluting its impact. This restraint leaves some performances feeling underutilized, some of the violence feeling unnecessary, and the overall experience somewhat hollow. In the end, the lingering question is: What could Raayan have been?