Bison Kaalamaadan review: A raging social drama laced with Kabbadi moves

Mari Selvaraj is back after the hard-hitting Vaazhai – and this time, it is the coronation of Dhruv Vikram into stardom. Bison Kaalamaadan is a pulsating sports drama drenched in blood and echoes a wider caste-class struggle in a society riddled with deep social, cultural, and economic disparities. The film is a struggle for survival, validation, and greater glory in the court of life.

A deeper look reveals that Mari Selvaraj, the man helming the film, stays true to his brand of cinema – whether it be metaphorical frames, caste denotations, or his quintessential way of vouching for an equal world – here conveyed through the poetic lens of cinematographer Ezhil Arasu K. (a young talent to watch for in the long run).

From a director who has delivered films like Pariyerum Perumal and Karnan, Bison feels slightly toned down – perhaps because Selvaraj was bogged down by the pressures of stitching together a sports drama, a genre that always demands a nail-biting pace.

Although not a biopic, the film is apparently based on the life of popular Kabaddi player Manathi Ganesan.

Bison Kaalamaadan features an ensemble cast. Besides Dhruv Vikram, the film stars Pasupathy, Lal, Rajisha Vijayan, Ameer Sultan, and Anupama Parameswaran – all delivering powerful performances that contribute to an immersive theatrical experience.

The plot

Kittan (played by Dhruv Vikram), hailing from a village in Tamil Nadu, is a Kabaddi enthusiast who tries to break the shackles of caste and political barriers that plague his existence and those around him. He dreams of achieving ultimate glory in Kabaddi – to make a name for himself and reclaim his confidence and dignity.

In his journey, Kittan is ably supported by his sister Raji (played by Rajisha Vijayan) and his love interest Rani (played by Anupama Parameswaran).

While pursuing his interest in the game, Kittan finds a worthy coach in Kandippan (played by Azhagam Perumal) from his school days.

However, Kittan’s father Velusamy (played by the versatile Pasupathy) initially disapproves of his son’s Kabaddi aspirations – an apprehension born out of the social and cultural oppression endured by their community over generations. The village is also bludgeoned by political rivalries between Kandasamy (played by Lal) and Pandiraja (played by Ameer Sultan).

Beating all odds, Kittan – who later earns the moniker “Bison” – climbs the ladder, somersaults over hurdles, and rises to glory to become a national Kabaddi hero for India.

Bison romps home

The film is technically sound. The camerawork is top-notch. Music by Nivas K. Prasanna is enjoyable and adds depth to the narrative. The film also features the collaboration of Arivu and Vedan – two of the most politically charged rappers in contemporary Indian cinema – and that is certainly a highlight.

As always, Mari Selvaraj gives strength and presence to his female characters. Notably, Raji (played by Rajisha Vijayan) emerges as the final voice in the family whenever Kittan and his father Velusamy find themselves at loggerheads, especially in the first half of the film.

Similarly, Rani (played by Anupama Parameswaran), who is also a close friend of Raji, is portrayed as a woman elder to Kittan – a bold and refreshing choice for a rural Tamil film. More importantly, their romance is portrayed with grace and sensitivity.

But no Friday show is ever perfect!

The letdowns

Bison Kaalamaadan is definitely one of the weaker entries in the otherwise reputed filmography of Mari Selvaraj. Despite having the advantage of working within a popular genre – with the task of mounting a sports drama infused with a social message – Dhruv Vikram’s film sometimes goes off track, with too many things happening at once.

While the intentions seem pure, the film momentarily feels like it has misplaced its soul.

The Ambedkar imagery often visible in the frames is a powerful political statement. But does the story have the narrative depth to carry such weight? That remains a looming question by the end.

It’s hard not to recall the powerful storm that Pa. Ranjith’s boxing drama Sarpatta Parambarai (also backed by Neelam Productions) stirred. While Bison is an equally important film, it is not necessarily better.

The film’s incredibly long runtime is a downer as well.

To add to that, the nationalistic tropes in a Mari Selvaraj film felt intriguingly refreshing!

Films that speak politics

However, Bison Kaalamaadan adds to the growing list of Tamil films that speak of identity politics – unapologetically, fiercely, and directly.

Mari Selvaraj undoubtedly belongs to the powerful niche of filmmakers enriched by the likes of Vetrimaaran and Nagraj Manjule.

Cinema is a form of resistance!

Rating: 3 out of 5 stars