An Opinion on the Erosion of Values in Kannada Cinema
First of all happy birthday to Yash. We remember your contribution to kannada cinema. but the teaser for Toxic: A Fairy Tale for Grown-ups dropped today, marking the return of Yash—formerly our beloved “Rocking Star,” now introduced as ‘Raya’. While the internet is buzzing and Kannada TV channels are running marathon shows to milk TRPs, a closer look at the content reveals a disturbing shift. The media seems fixated on Natalie Burn and the search trends regarding her intimacy with Yash, but amidst this noise, we must ask: Is this the direction Kannada cinema should be taking?
The Hypocrisy of “Pseudo-Feminism” in Filmmaking
One of the most jarring aspects of this teaser is the directorial vision of Geetu Mohandas. Known as a stalwart of the Women in Cinema Collective (WCC) and a vocal advocate for gender equality in the Malayalam industry, her choices here reek of hypocrisy.
We remember Geetu Mohandas standing at the forefront of the criticism against Megastar Mammootty’s movie Kasaba. She, along with actress Parvathy Thiruvothu, rightly called out scenes where the hero misbehaved with a female officer, arguing that glorifying such misogyny with “mass” background music sends the wrong message to society.
Yet, in Toxic, we see Yash’s Raya engaging in a sexual act in a shaking car before stepping out to slaughter enemies. Critics—and common audiences alike—are asking: How is this different? The woman is reduced to a prop, a mere body inside a vehicle, while the “hero” displays his machismo. If the title Toxic or the character’s underworld lineage is the defense, then Mammootty’s character in Kasaba (a corrupt police officer) had the same defense.
To claim to fight for women’s dignity on one stage and then objectify women for “swag” on another is not empowerment. It is pseudo-feminism. It seems that for some filmmakers, including those who emulate the RGV (Ram Gopal Varma) school of thought, “boldness” is just a cover for commodification.
The Fall from Grace: Yash vs. The Legacy of Appu
The disappointment hits hardest when we look at Yash. He is an icon for millions, yet this teaser feels like a betrayal of the cultural roots that built him.
One cannot help but draw a comparison to the late, great Puneeth Rajkumar (Appu).Puneeth was the only superstar who arguably never resorted to this kind of useless vulgarity to sell a movie. His films were family entertainers that respected the intelligence and values of the audience. also many kannada super stars never did these things. It is not beacuse they can’t do. but by keeping audience in mind. becuase video creates more impact on mind. for example after seeing KGF 2 some one in north killed many.
Yash, in his pursuit of global or “Western” validation, seems to have forgotten this. We, the Kannada audience, grew up watching movies that celebrated our ethos. We do not need to prove to the West that “we can do sex scenes better” or “we can be as dark as you.” We are on this earth for higher purposes, not to compete in a race to the bottom.
The Westernization of Indian Cinema
There is a growing, dangerous trend where Indian filmmakers believe that mimicking the West equates to quality. This colonial hangover is evident in the obsession with importing Western actors and aesthetics to Karnataka. We have already lost so much of our heritage; we cannot afford to lose more.
The argument that “grown-ups” implies physical intimacy and violence is flawed. Being a “grown-up” means possessing maturity, responsibility, and wisdom—not indulging in carnal instincts. Humans are distinct from animals because of our culture and restraint. When we discard that culture to look “cool,” we descend into animalistic behavior.
Movies like Animal, Sacred Games, Arjun Reddy, and now potentially Toxic, are being consumed by a generation that is already overexposed to internet pornography. These films validate those distorted views of reality. They ruin the mindset of our youth, teaching them that toxicity is “style” and that women are objects of conquest.
A Call for Dharma, Not Ego
To those who argue that our mythology contains violence, I say this: Yes, we have the Mahabharata and the Ramayana. But the violence in Kurukshetra was fought for the honor of Draupadi. The war in Lanka was fought for the dignity of Sita.
Our culture justifies violence only when it is used to protect women and uphold Dharma, not when it is used to gratify the hero’s ego or lust.
Yash, and filmmakers like Geetu Mohandas, perhaps need spiritual grounding more than they need box office records. The ego that drives one to compete with Hollywood by discarding one’s own cultural backbone is a fragile one. The Censor Board seems to have abdicated its duty, but as an audience, we must not.
This teaser is not a “shameful pleasure”; it is just shameful. It is a disappointment to see a hero capable of greatness reduce himself to this. We expect better.