Mohan G’s ‘Bakasuran’, starring Selvaraghavan and Natarajan Subramaniam, is a dull drama about the exploitation of women

Spoilers ahead…

There are three narratives buried in the convoluted screenplay of G Mohan’s Bakasuran. One is from the Shankar playbook, where a wronged man turns into a vigilante and kills those who wronged him by means of an exotic method. If it was Varmakalai in Indian and tactics from the Garuda Puranam in Anniyan, here the modes of killing are taken from Bheema in the Mahabharata. Mohan G adds a communal angle to this tragedy: in a scene where an affected father talks to and seeks comfort from a blazing fire, he points out that the man belongs to the same community that was enraged by the depiction of the Agni Kundam in Jai Bhim. Selvaraghavan, whose character is named Raasu, plays the vigilante killer. This is not a spoiler because we see him in this mode in the film’s very first scene. (His last name is muted in the film, but the trailer told us it was Kachirayar.)

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