Another year is approaching and like the previous years, this year has been a rollercoaster ride for the film industry. With the rise in the number of big-budget “pan-Indian” films, all aiming to earn the highest grosses, the focus of both audiences and filmmakers has shifted to box office numbers. The latest example of this is director Sukumar Flower 2: RulesStarring Allu Arjun, Rashmika Mandanna and Fahadh Faasil. Despite mixed negative reviews, the action drama is quickly crossing various collection milestones, positioning itself to become one of the biggest successes in Indian cinematic history. However, like many recent “pan-Indian” films, Pushpa 2 raises an urgent question: once the initial excitement wears off, does the film have lasting significance? Will it stand the test of time? Or, more precisely, does it have the qualities to stand the test of time? Ifs and buts can answer any question regarding the quality of Pushpa 2 and this holds true for most pan-Indian films. The incident also highlighted that producers are struggling to make superstar-driven films, unsure of how to strike the right balance. In such a scenario, director Suresh Krishna’s iconic gangster drama Baasha, starring Rajinikanth, becomes all the more important – offering a timeless example of how a great superstar film can be made without sacrificing quality.
Unlike many current star-driven films that begin with a huge, adrenaline-pumping introduction sequence – often leaving the rest of the film struggling to match the energy – Baasha introduces Rajinikanth, who turns 74 on Thursday, not as “Shaili Mannan” or “Shaili Mannan”. . Through high-octane action sequences, but as someone the masses love. After the film opens with the iconic “Super Star” graphic title card and a jingle reminiscent of the James Bond theme, we are introduced to Manickam in the context of his humanitarian work, particularly for auto rickshaw drivers. This portrayal made him “Izai Thojan” (friend of the poor) image, placing him almost as the rightful successor to MG Ramachandran (MGR). The choice of auto rickshaws also added significance, as they connected Rajinikanth with the masses, Rajinikanth was seen as the most accessible mode of transport for the general public. After starting his career as a bus conductor Being seen in khaki after achieving superstardom resonated deeply with audiences, adding a sense of belonging.
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When we first see Manickam (Rajinikanth), the visuals are not accompanied by songs that boast of his greatness or exaggerate his abilities. Instead, through the verses, he says, “Nan Prasavathuku Ilavasama Warenma, An Pillaikoru Peru Vachum Tharenma (If you’re going into labor, I’ll take you to the hospital for free; I’ll even help you find a good name for your baby),” which further endears him to the audience through his kindness.
One of the reasons Baasha is a fan favorite is that it’s not just about Don, Rajinikanth or his superstardom – it’s about Manickam’s deep love for his family, which Krishna skillfully brings to life. After the song, the first scene shows Manikam and his family celebrating his younger brother Shiva (Shashi Kumar) passing the SI exam, highlighting the importance he places on his family. With moments of warmth and affection, Krishna devotes this part entirely to building Manikam’s world, emphasizing his willingness to go to any extent for his loved ones. This portrayal also helped the movie convey that it is not his physical strength that defines him as Basha, but his unwavering courage and determination to protect those he holds dear. The filmmaker effectively demonstrates this through several memorable scenes, including Manickam meeting the DIG – despite knowing that his cover might be blown – just for his brother; Stand silent as roadies destroy his car Endure humiliation at his sister’s boyfriend’s house; And beating from rivals to save his brother.
Unlike many current star-driven films that begin with a huge, adrenaline-pumping introduction sequence, Baasha introduces Rajinikanth as the person the masses love. (Image: IMDb)
To cater to the new generation’s short attention spans and distract audiences from shallow narratives, “pan-Indian” films bombard audiences with one high-energy scene after another; Almost to an extent the film will tire the fans by the time it reaches its climax. In Baasha, Krishna takes a bold risk and delays Manickam’s transformation into a gangster midway through the film. Till then, Manickam is introduced as an auto driver, projecting the image of a person who cannot get angry. Although hints of his past are revealed through brief flashbacks and the expressions of others, Krishna keeps the suspense intact, building the tension until the right moment. This risky choice worked because Krishna carefully prioritized the story over Rajinikanth’s superstar status, a balance that modern star-driven films often fail to achieve due to their tendency to deliver high scores every few minutes.
Also, Baasha would not have made as much of an impact if not for the powerful villain of the film, Mark Antony (Raghuvaran). What makes Antony such an iconic opponent is not just his menace or ruthlessness, but the depth of his character—his emotions, arcs, and the defeats he suffers in battle. Like the hero, Antony is defined not by his physical strength, but by the personal obstacles that fuel his enmity towards Basha. Through sharply written scenes, extravagant dialogues and Dev’s electrifying music, Krishna creates a world based on emotions rather than spectacle, which “pan-Indian” filmmakers often fail to grasp; As a result, many of these films are nothing more than forgettable spectacles.
In Baasha, director Suresh Krishna takes a bold risk and delays Manickam’s transformation into a goon midway through the film. (Image: IMDb)
While praising Baasha, it would be remiss not to acknowledge its main flaw: the extremely poor portrayal of women, especially the female lead Priya (Nagma). In Basha women exist only with the male figure and otherwise have no existence. While Priya has more purpose and depth than Adhya (Shruti Haasan). Salar: Part 1 – CeasefireAngela (Disha Patani) Kangwa and in Disha (Rakul Preet Singh). Indian 2 Combined, the constant objectification and sexualization of women – seen at alarming levels in films like Pushpa 2 – can easily be detected in Baasha and earlier. Unfortunately, this has become a deep-rooted issue in cinema that we have yet to overcome.
After director Payal Kapadia We imagine everything as light Got two nodes in the 82nd Golden Globe AwardsFamous film producer Vikramaditya Motwane has criticized the makers of Pushpa 2 Multiplexes are not required to screen any other films for the first 10 days of their release in order to create a monopoly by bringing them into the deal. This gives moviegoers a stark choice: either watch Pushpa 2 or watch nothing. Pushpa 2’s production company Mythri Movie Makers continues to flood social media with posters highlighting the film’s record-breaking achievements, Motwane’s post, citing a Times Now The report reveals how such blockbuster films create a form of market exclusivity, where audiences have no choice but to watch them. Despite going overboard with promotion, creating a sense of urgency – suggesting that not seeing the film is like missing out on something big – such big films still need to resort to monopoly tactics – which ultimately only benefit the respective investors – and this underscores The problematic situation of the industry.
Baasha would not have made such an impact if not for the powerful villain of the film, Mark Antony (Raghuvaran). (Image: IMDb)
At the same time, the main reason these films fail to take off beyond a certain point is their lack of quality, which was seen in the “Pan-Indian” films this year. Kalki 2898 AD, The greatest of all time, Singham again, Deora: Part 1, VettaiyanIndian 2 and Kangua. Unfortunately, we have reached a point where the onus is on the public to make these films blockbusters. If we want to watch something else, it often feels like we have no choice but to watch what the major production houses and multiplex chains command. Disappointingly, such big firms are only satisfied when a film becomes the “biggest grosser of all time” or at least when it breaks some records. If that doesn’t happen, they quickly play the victim card, blaming everything but the poor quality of the film or their decision to spend a lot of money on less content without realizing that overspending and overselling won’t recoup the investment. In such difficult times, the best option would be to stay calm, watch Baasha and see how Rajni used to do.