Bison Kaalamaadan Review: An Epic Social Drama
Directed by Mari Selvaraj, Bison Kaalamaadan emerges as a notable entry in his filmography, particularly under the banner of Pa. Ranjith’s productions. The film centers on Kittan, a young man whose fervor for Kabaddi serves as a lifeline amidst the violent caste struggles prevalent in Tamil Nadu. Dhruv Vikram delivers a compelling performance, using minimal dialogue to portray Kittan’s internal conflict through nuanced expressions and body language.
Velusamy, Kittan’s father, portrayed by Pasupathy, serves as the emotional core of the film. His multi-dimensional performance captures a father’s protective spirit, the frustration with societal constraints, and the grief of navigating an unforgiving social landscape. Viewers can deeply feel his exhaustion and underlying hope.
The narrative transitions from an intimate father-son dynamic into a high-stakes sports drama as Kittan’s talent in Kabaddi introduces him to a diverse set of friends, rivals, and challenges. Each match becomes a moral trial, raising questions about integrity and perseverance, while victories offer an exhilarating sense of liberation.
While some matches may appear repetitive, Selvaraj employs sharp editing and poignant musical cues to maintain distinctiveness in their stakes. Inspired by real-life Arjuna Award-winning Kabaddi player Manathi Ganesan, the film’s predictability regarding outcomes does not detract from its essence. Bison Kaalamaadan highlights the obstacles faced merely to participate in the sport, transcending typical sports narratives.
Moreover, the film presents a poignant commentary on caste, ambition, and social harmony by juxtaposing the dehumanization associated with caste systems against the unifying power of sports. The characters of Pandiaraja, a Dalit leader, and Kandasamy, an OBC leader, portrayed by Ameer and Lal, are complex and thoughtfully developed, challenging conventional political archetypes in Tamil cinema.
Santhanraj, a physical education teacher played by Madhan Dhakshinamoorthy, serves as an essential figure nurturing Kittan’s talents free from bias. Since Pariyerum Perumal (2018), Selvaraj has explored themes of oppression and empathy, achieving a significant milestone with Bison. He highlights that both art and sports require a shared sense of humanity.
Supporting performances by Rajisha Vijayan as Kittan’s sister Raji and Anupama Parameswaran as Rani also stand out. Raji serves as an emotional link between father and son, while Rani embodies the complexities of familial loyalty and unspoken affection, adding a haunting dimension to the story.
Ezhil Arasu K’s cinematography excels in blending the personal and the epic, offering both intimacy and grandeur. Nivas K. Prasanna’s musical score, often compared with past collaborations, enhances the atmosphere, particularly with energizing tracks like “Rekka Rekka” and “Thennaadu.”
Despite its strengths, the film has minor shortcomings; some Kabaddi matches would benefit from more dramatic choreography, and the black-and-white contemporary segments may seem clichéd, notably with the North Indian coach portrayal. Certain characters lack depth, appearing more as narrative tools than fully realized individuals, and some dialogues feel contrived rather than organically integrated. The film could also benefit from a tighter edit.
Nonetheless, Bison Kaalamaadan stands as one of Selvaraj’s most focused and emotionally resonant works. It manages to address significant social themes without being overtly didactic, presenting an authentic and intense narrative. As stated by Pandiaraja’s character, it is essential to appreciate the mere existence of such a film within Tamil cinema.
Rating – 4 stars out of 5.
The review was initially published on Maktoob Media.
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