Maamannan

The heart and soul of Maamannan is Vadivelu. This is a Vadivelu so spectacularly in form that you cry when he cries, and you are enraged for him when his grief gives way to anger. Mari Selvaraj, after Pariyerum Perumal (2018) and Karnan (2021), delivers yet another film that will redefine how Kollywood talks about caste.

Despite its flaws, the movie succeeds in its mission of making several significant points by the time it ends. Except for these minor issues, Maamannan works big time.

It is when he pushes the scope of the narrative to a larger framework that the film's dramatic potency gets diluted. The second half becomes a political power game between an oppressor who wants the status quo to remain and the oppressed who believe democratic victory will solve their problems, but these portions lack intensity and even begin to move into realms of social fantasy. Mari Selvaraj joins the list of filmmakers whose ambitions got the better of them with their third film.

Maamannan is his weakest story when compared to his previous films. While you wait for the story to hit its peak in the latter half, you end up disappointed as it does not have enough meat. Maamannan is a film that raises important questions for society. However, it is let down by the screenplay, which has too little to offer.

Maamannan is entirely a political film. Mari Selvaraj's films put forward powerful interventions that seek liberation from the spaces of caste arrogance.

On the whole, Maamannan is an underwhelming political drama that's saved by its lead cast's brilliant performances. Vadivelu and Fahadh Faasil deliver phenomenal performances that elevate the film, with Vadivelu underplaying his role to stunning effect and Fahasil becoming the human form of terror.