Seldom we see a comprehensively compelling film tracing the life arc of a true story. If Madhavan – in his debut directorial venture – aced it with an A-, it is Madhavan – the writer – that excelled with a perfect A. The platform is aptly set for Madhavan – the seasoned and versatile actor – to take it a step above and beyond. Such a riveting performance portraying Nambi Narayanan – an ambitious, visionary, and steadfast rocket scientist.

The modus operandi of storytelling is fascinating and like a whip of fresh air. Nambi – of today – is interviewed by an elite celebrity with his own agenda. Once the ice breaks between the two, the narration is crisp and swiftly weaves in and out of current-day and period backdrops encompassing the 60s through 90s.  Nambi reminisces his journey through early days at ISRO; his stint at Princeton; his perseverant tenure rallying fifty-plus Indian scientists supporting a French engine building program; and culminating in the tainting scandal that forever changes him and his family. Nambi’s steadfastness to his strong conviction and unwillingness to yield to the odds and forces against him is brilliantly portrayed. 

You got to give it to the writing. It is the backbone of the end product we see on screen. Deeply etched central characters mingling in isolated conflicts, interlaced with measured humor when and where needed. If Nambi’s impromptu quid pro quo marketing of his top-notch omelet making skills brought laughter, it was Nambi’s outrageous request to Col. Cleaver that draws a tongue-in-cheek response from Mrs. Cleaver. The response cleverly packages – the peacock throne, British imperialism, and its irreversible effect on India – all three in one context. The scene where Nambi, in police custody, comes face-to-face with his colleague and friend; strangely reminded me of Surya confronting Deva in Thalapathi. About the same aura, depth and intensity. Do you observe a pattern of slow-motion rushing footage, as a delimiter, in between the proceedings? I think it’s an interesting way of presenting a precursor to show and tell the “why” of what is going to unfold next.

If it was a Nayakan for Kamal, a Thalapathi for Rajini, then it certainly is Rocketry for Madhavan. Different periods, different genres, yet same enduring effect. The narration, and the storytelling reaches crescendo in the climax. It is touching. It is moving. You ought to see it to experience.

Nambi’s spiritual psyche may console itself knowing that sometimes you don’t get closure, and you just move on. Closure comes from within. To Nambi, within is an exclusive realm made of conscience, conviction and belief in fact-based science. That core begs to side with the fact that not having closure is not closure. If we were to take a leaf out of a telling quote – “There comes a time when you have to choose between turning the page or just closing the book.”