Bakasuran 2023 movie review - Cringe Fest over

The story of Bakasuran

Bakasuran is an action drama film written and directed by Mohan G. The film stars Selvaraghavan and Natarajan Subramaniam in the lead roles, along with JSK Gopi, Radha Ravi, Mansoor Ali Khan, and many others in supporting roles.

The soundtrack and background music for this film was composed by Sam C. S. The film was edited by Devaraj S, and the cinematography was done by Farook J. Basha. Sam C. S. has sung two songs with lyrics written by Papanasam Sivan and Thiruvasagam. Director Mohan G has also produced this film under the banner of G M Films Corporation.

The plot

The plot of Bakasuran is centered on students and housewives who offered their bodies in exchange for money using the Tocanto app, like an action drama. The cop Nattu started looking for Selvaraghavan in the city after learning about his wife's murder case. 

Bakasuran movie review

On the other hand, he continues to kill the men who persuade the girls to become sex workers. The film is based on a real incident that happened in the present time. The trailer presents the main story of the film. However, the success of this film will depend on how the sensitive topic is handled.

Release date

The movie "Bakasuran" was released in theaters on February 17, 2023.

Bakasuran movie review

The title, Bakasuran, is illuminated by red flames, and the background music is simply a demonic scream. Director Mohan G is angry again, and this time he is angry at young women and cell phones. All this rage is channeled through the anti-hero, 

Bheemarasu (Selvaraghavan, who seems to be playing a sequel to his character from a much better film, Saani Kaayidham). From the start, Bheema is out for blood. The director's name appears when Bheemarasu drops a stone on a man's head. This shot has no aesthetic value, nor do we know what is behind the bludgeoning.

In fact, for most of the first half, as Bheema claims victims, we are treated to gratuitous violence; we feel the filmmaker smack his lips in pleasure when Bheema, for example, slits the throat of a woman held upside down. 

Cringe Fest over

The misogyny is palpable, and since the flashback (which attempts to justify Bheema's actions) comes much later, all you're left with is a man brutalizing a woman, enjoying it, and walking away with his sunglasses soaked in blood. Oh, and in the meantime, Bheema cracks a joke designed to enhance "maanam" - which we now know is a powerful tool for keeping women under control. 

He suggests that when given the choice between "maanam" and "uyir", women should choose the former. Imagine this man - the father of a daughter - saying that if she ever had to choose between "maanam" and "uyir," he would much prefer that she die. Imagine the darkness in the heart of such a person.

What saves the day is that Selvaraghavan is perfectly comfortable playing a twisted man. He exudes menace, seems unpredictable, and is obviously good at dark humor. I've always enjoyed watching the actor Natty, and Bakasuran, for a while, seems to be interestingly structured around the idea of parallel narratives. As Natty's Major Arul investigates a related murder case, Selva's Bheema goes on a brutal rampage. 

Bakasuran Official Trailer

When do their paths meet? Yet the film abuses this technique to the point of throwing us off - and not in a good way. Commander Arul says a line or two and his scene is over. Quickly, we move on to Bheema who says a line or two, and we return to Arul once more - and so on. Also, Arul's methods aren't exactly ingenious, and Bheema's crimes seem repetitive and easy to accomplish. 

He is able to isolate his victims and whip them until he gets bored. Meanwhile, while he is having fun with another of his victims, the whole scene is filmed in slow motion. Thus, throughout the duel, we see drops of water flying, the flesh of the man's face quivering after a punch... Is this a weak attempt at crafted innovation? Is it a way to savor the attacks longer?

Either way, between showing how women are exploited and caring about them, the film itself manages to exploit them. First, it surreptitiously introduces a boring dance number, with Mansoor Ali Khan dancing with a group of women. 

The Bakasuran film's excuse is that Arul attends the filming of such a song. 

The film's more subdued exploitation is evident in its focus on the victims. This is particularly the case in the way Bheema's daughter's story is presented to us. Someone calls her "Kaamathu kaari." Someone else describes her body and suggests that she ate "badam" and "mundhiri." All of this is rather crude, and the film shows no real understanding of how to sensitively present an exploited woman.

To add some intrigue to this bloated and trite revenge story, references to the Mahabharata are introduced. Apparently there is a method to the killing, with parallels drawn to the many demons killed by Bheema from the Mahabharata.

It is interesting to get a glimpse into Bheema's life as a village artist. But barely enough time to understand Bheema's personality and his art, the film focuses on the repetitive and exploitative details of the victim-daughter-flashback™. Somewhere in between, the film stealthily insinuates her distaste for abortions.

Bakasuran identifies problems and presents stupid and superficial solutions. 

He sees that cell phones can cause problems, and his solution is to vilify all technology. He sees that young adults can explore their sexuality, and his solution is to ban privacy. He hopes to scare our already insecure parents into constant surveillance. 

The film fails to understand that repressive education is also the problem; it fails to understand that the problem is also that young people are shamed and humiliated for the lightest and most natural explorations of their sexuality. Isn't that why Bheema's daughter feels so disgusted about sharing a kiss? 

Isn't that why she is so afraid to tell her family? 

Is the solution then to lock these young adults in a box, or to foster trust and help them understand that they will never be judged, only gently guided? But all of this may be too nuanced for a film whose portrayal of a bad woman is summed up by wearing sleeveless outfits, having short hair and talking loudly.

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