★★★ ★★ 3.0/5
Charukesi review: a tender swansong that plays it safe
Y Gee Mahendra is extraordinary as a Carnatic singer losing his memory to Alzheimer's. Deva's score does the rest. The writing keeps playing it safe. 3/5.
There’s a quiet irony in building a film about lost memory around a stage veteran, since theatre is the one art that lives or dies on it. Charukesi gives Y Gee Mahendra a feted Carnatic vocalist sliding into Alzheimer’s, and the role asks him to hold two men at once: the maestro who once owned every sabha, and the bewildered one who can’t place his own wife. He occasionally plays it too big, the way a lifetime of stages trains into you, but he never loses the man under the performance. The scene where he sings, fully present for a few minutes before the fog rolls back in, is the one the whole film is built to earn.
The story around him is more ordinary than he is. His son (Raj Ayyappa) has spent his life trying to be anyone other than the great man’s heir, and marries a singer (Ramya Pandian) who arrives with a grudge and a family secret she’s happy to wield as a weapon. Suhasini Maniratnam holds the house together as the wife; there’s a staginess to her in spots, but her presence covers for it, which is more or less the deal the film keeps offering.

The diagnosis arrives early. The film is less about the illness than the family it forces into the open.
This started as a stage play, and Suresh Krissna hasn’t bothered to disguise it. The rooms stay rooms, the camera mostly watches from one spot, and the result is intimate and inert by turns. The heavier drag is the writing. Pa Vijay’s dialogue reaches for a life lesson in nearly every scene, and the homilies about parents and roots and letting go are the kind you’ve heard landed better elsewhere.
What keeps it standing is Deva. A composer the gaana crowd usually claims, he writes Carnatic here like he’s been waiting years for the chance, letting familiar old phrasings surface in a way that mirrors a mind groping for what it’s losing. When Charukesi stops lecturing about music and simply plays it, it finds the feeling the script keeps trying to explain. That’s enough to recommend it, even with a final act you can see coming a reel away.
More onCharukesi,Y Gee Mahendra,Suhasini Maniratnam,Movie Review