Bison: Kaalamaadan

I can see the evolution of Dhruv as a performer here. From an irritating presence in Mahaan to fully embodying a professional kabaddi player (inspired by Manathi Ganesan), he has come a long way. Mari Selvaraj's movies now have a storytelling pattern, and this review won't be purely about that. Dhruv's coming-of-age portions remind you so much of Vikram in his early days (Sethu, Dil immediately come to mind), and he still has a lot of navigation to do as an actor, but Bison is definitely a step forward in that aspect.

Pasupathy sir -- what a performance! Truly worthy of some accolades at a larger level, this man. Rajisha too, is solid. The romance (feat. Anupama Parameswaran) doesn't do much for this story unfortunately and comes across as a trope that merely stretches the run-time. The parallel track of gang wars between Ameer and Lal was interesting initially, but it sinks to the same depths as many similar stories we've seen, with the same kind of gory, visceral payoffs.

The kabaddi scenes are really well done; DoP Ezhil Arasu captures them with exceptional verve. Dhruv is a scream in these parts; his transformation from "boy" to "man" is intense and poignant. Violence somehow seems to keep finding him, even when he isn't at the center of the aforementioned gang war. His family, hailing from a lower caste (well, that's predictable), is always at the mercy of people in bigger positions of power, of authority. Dhruv's Kittaan is battling not just generations of being sidelined, brushed aside, or considered inferior. He's trying to bring glory to his family, village, and the entire community in the process.

Even keeping the politics aside, the film fundamentally shines as a sports drama. Nivas K Prasanna fits into SaNa's shoes somewhat well; I'd still have wanted to see SaNa work his magic here. "Rekka Rekka" is the standout track, with fantastic picturization. I do think the storytelling could've been a tad better if the non-linearity had been only used to depict the gang-war portions. The current version is 2h 48m long, and when you already know the outcomes of certain foreseeable events, the edit could've been slightly tighter.

Even without the animal violence and brutal slayings, it's still a story worth telling without a doubt. Sports is something that can bring people together, regardless of rivalries and discrimination, and it's smartly used as a storytelling device here. Heck, both the warring faction leaders acknowledge this at different points in the film, and that's a win!

A star is born? Nah, Dhruv is a natchathiram.

I've been rooting for "Bison" since day one, and it's so satisfying to see it deliver this powerfully. On the surface, it's about kabaddi, but really it's about caste, identity, and the fight to just exist with dignity. Mari Selvaraj brings his usual mix of anger and poetry here, and his direction makes every frame feel lived in and heavy with meaning.

The interplay of black and white and colour scenes is such a cool touch; you can feel that shift from oppression to empowerment. The cinematography captures the grit and dust of rural life beautifully.

Dhruv is phenomenal. He completely owns the role, and all that physicality and emotion feels so real. Pasupathy as his dad adds serious emotional weight; their scenes together are some of the best. Anupama and Rajisha did a solid job even if their roles aren't huge. I really liked Lal and Ameer here; both their characters felt strong and their dialogues hit hard.

Nivas K. Prasanna's music fits the tone perfectly, adding emotion without ever being too much.

Yeah, the third act felt a bit long but honestly, Idm. By the end, it felt less like watching a sports movie and more like watching someone fight their way toward freedom.

Mari Selvaraj once again turns struggle into cinema.

A stirring blend of grit and grace - Bison: Kaalamaadan is a sports saga that doesn't just celebrate kabaddi, but also digs into the scars beneath. Dhruv Vikram delivers a compelling performance as Manathi Ganesan, giving us both the raw energy of an athlete and the emotional weight of a man wrestling with more than just opponents. Director Mari Selvaraj's vision is grand and unafraid, weaving social commentary into powerful sequences (though at 168 minutes, the film occasionally tests the limits of patience).

The ensemble cast, cinematography that sweats with every tackle, and a background score that throbs with purpose all lift the film. Some pacing issues in the mid-section and moments of overreach in messaging slightly dull the impact-but overall, this is a memorable ride that stands out in Tamil cinema's sports genre.

Instead of dwelling in caste victimhood, the film celebrates the power of persistence, self-belief, and progressive thinking as weapons against centuries of caste oppression.

Observed, it's not a grand cinematic outburst, but a small, real moment of personal emancipation. Dhruv's body language throughout-slouched shoulders slowly straightening, hesitant eyes finding steadiness-captures this inner evolution beautifully.

My learnings are about social consciousness without self-righteousness. Progression cannot rely on sympathy-it must be built through opportunity, courage, and relentless hard work.

Barring screenplay choices and parts of the film that felt repetitive, this is one of the best Tamil films of the year. Pariyerum and Karnan may still be ways ahead, but Bison is surely better Vaazhai and so much better than Mamannan.

Great 'debut' for Dhruv, surrounded by a stellar supporting cast; Pasupathi might end up winning an award or two for his work. Subtle commentary on so much...*slow claps* This film is definitely not the types that you'll go to theater for to 'enjoy' and have a good time with your friends but if you want a solid, dark, though-provoking film, this is a must watch this Diwali.