Usually, the trope of the ‘femme fatale’ is debatable in cinema. They are often portrayed as sexually insatiable and mindlessly vengeful. That way, Bhadra is a chaste femme fatale, who builds the façade of a seductress to lure her predators, though at heart she is bubbling with resentment, hatred and fear. Bhadra is fun, sexy, compassionate, and out to kill. Her transition too has been developed very convincingly. The title is indicative of a woman scorned, about using femininity as a tool to seek vengeance. Bhadra first wins over the trust of Natesan’s meek wife, who has no control over her husband or her son. Once she enters the seemingly impenetrable tower, she uses different tricks to seduce the father and son. If she uses a straightforward but mild seduction game (power of suggestion, rather) against Natesan, she is more gentle and coy with Uthaman, playing with his mind and feigning romance. Interestingly, she uses her feminine wiles so delicately, keeping her boundaries, that it is easy to see how the two men floundered.