In this action-filled, entertaining story, a collection agent takes takes on the education mafia.
Initial release: January 12, 2017 (France)
Music composed by: Santhosh Narayanan
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BAIRAVAA MOVIE REVIEW: A masala movie that has scope for mass moments, Bairavaa struggles with tone and pace and fails to do justice to its star. The film’s writer and director, Bharathan, dresses up his average guy versus powerful individual story as an issue-based film, but instead of telling this story in swift strokes, he narrates it in leisurely fashion, robbing the film of energy, which is crucial for a mass hero film.
The plot revolves around Bairavaa (Vijay), a loan recovery agent in Chennai, who falls in love with Tirunelveli girl Malarvizhi (Keerthy Suresh), who has come to the city for her friend’s wedding. When he is about to propose to the girl, he learns about her predicament — PK (Jagapati Babu), a butcher-turned-rowdy-turned-bigshot in her home town, is after her, for taking him to the court for the murder of her friend. Bairavaa decides to step in and save her and her fellow students who are trapped in PK’s educational institutions.
Also Read: Vijay’s ‘Bairavaa’ to release in 55 countries
The set-up of Bairavaa is almost like that of Ghilli, another film which had Bharathan and Vijay working together. Here again, we have a happy-go-lucky young man, a damsel in distress and an influential man who wants to keep her alive while tearing apart her world. The only difference, if you could call it that, is that the hero goes to the villain’s home ground and takes him on there, while it was the other way around in Ghilli. As for the second half, Bharathan takes inspiration from the films of Dharani and Hari (whose breakneck editing style could actually benefit this overlong film), and structures it as a cat-and-mouse game between the hero and the villain (who is all build-up and no serious threat). But the tone is quite dull for a masala film, with very little of the fun that we associate with films in this genre. Even the songs (barring the theme, Varlaam Varlaam Vaa Bairavaa) and the score (by Santhosh Narayanan) lack the verve and jauntiness that such films need.
There are some elements that work… like the robust action blocks, which keep reminding us of how the film could have been so much more than what it is now, the references to Vijay (the one that appears just before the interval, during an action scene, is one of the few highlights) and the star himself. By now, the actor can play these roles in his sleep, and he tries his best to keep things entertaining. He even makes us take a poorly written and staged courtroom scene with all seriousness. But when the script and the director are of no help, there is only so much that a star can do.