maamannan movie review malayalam

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• Vadivelu, Udayanidhi Stalin, Fahad Faasil, Keerthy Suresh Starrer Maamannan Movie Review Rating In Malayalam

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ക്രിട്ടിക്സ് റേറ്റിങ്

വായനക്കാരുടെ റേറ്റിങ്, സിനിമ റേറ്റ് ചെയ്യാനായി സ്ലൈഡ് ചെയ്യൂ.

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The community that was exploited by the town's influential man, who completely rules due to the powerful backing of the authorities. A man collects evidence to flip him upside down when he w... Read all The community that was exploited by the town's influential man, who completely rules due to the powerful backing of the authorities. A man collects evidence to flip him upside down when he was helpless to stop his endless torture. The community that was exploited by the town's influential man, who completely rules due to the powerful backing of the authorities. A man collects evidence to flip him upside down when he was helpless to stop his endless torture.

• Mari Selvaraj
• Fahadh Faasil
• Keerthy Suresh
• 62 User reviews
• 9 Critic reviews

• Rathinavelu

• CM Sindhanai Rajan

• Salem Sundaram

• Shanmugavel
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• Trivia This is said to be the final film for the lead actor, Udayanidhi Stalin.
• Goofs None of the characters speak a Salem accent, although the film is set here.

Rathinavelu : I have seen for many days here. He would not sit down no matter who says, at my house.

Veeran : Did you tell him?

User reviews 62

• bargavigovindan
• Jul 2, 2023
• How long is Maamannan? Powered by Alexa
• June 29, 2023 (India)
• Red Giant Movies
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• Runtime 2 hours 37 minutes

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Maamannan Movie Review & Analysis

• Kollywood Review

Gist of the Story

The affluent, haughty scion of a late politician is determined to ensure that an MLA and his son, who are from an oppressed community, bow to him. They are obliged to stand up against him.

Detailed Plot

In addition to being a member of a political party that supports social justice and equality, Maamannan holds the office of MLA for the Kasipuram seat. Adhiveeran, his son, runs a pig farm in his spare time in addition to being an Adimurai instructor. As the leader of the political party that Vadivelu is affiliated with, Rathnavel, a powerful politician in the same hamlet, is also a member of the local government. Rathnavel’s brother has threatened Leela since she runs a free coaching facility. Veeran receives this issue from Leela and her pals, and Maamannan and Rathnavel engage in a massive power struggle as a result. This is how Maamannan’s tale develops.

Artistes’ Performances

Vadivelu puts up a fantastic performance the entire time while playing a serious part, displaying an intense performance. With ease, Vadivelu’s character stands out among the others; the seasoned actor handles the title part with ease. The first-half sequence starring Fahadh Faasil and Udhay will undoubtedly be memorable since he is a film’s standout contribution. In the first half, Udhaynidhi gives a controlled and effective effort; however, in the second, he truly comes into his own and excels. Another appealing aspect of the film is Fahadh’s ominous portrayal of the rival. Keerthy plays a clean and well-defined part in the movie, and she does a great job of making her dialogues count.

Direction / Technical Side

Mari Selvaraj based the plot of Maamannan on true events, and Vadivelu’s figure of the ‘Maamannan’—from whom the narrative genuinely stems—is the focal point of the action. The film does a good job of conveying Mari Selvaraj’s goal of promoting equality concept to society. Although the background is unique and has new components to support it, the fundamental political narrative is well known. The story’s main conflict starts out on a brighter note. A savvy businessman demands that a group of young people cease providing free education to kids after becoming enraged by their actions. When they refuse, he assaults their workplace. Rathnavelu, a prominent politician and the brother of the merchant, and Athiveeran end themselves at odds over this. Everything we’ve come to anticipate from a Mari Selvaraj movie is in Maamannan’s first half, including horrifying depictions of discrimination in the form of assaults against helpless humans and animals, lingering guilt, a sweet romantic theme, inhuman villainy, and heroism that inspires cheering and whistles.

The movie features numerous excellent scenes that showcase Mari Selvaraj’s talent. These scenes don’t appear randomly throughout the movie, though. The film’s second half meanders since there isn’t much of a plot to be found there. While anticipating the story’s climax in the second half, you find yourself let down since there is not enough substance. The narrative and performers’ performances are propelled by Theni Eswar’s enticing visuals and AR Rahman’s impactful soundtrack. While the score is excellent throughout and never lets the tension waver, the songs let the movie’s enthusiasm soar.

Verdict; Maamannan tackles social issues and demonstrates change through belief in the democratic system. Despite minor shortcomings, the film offers engaging experiences with outstanding performances and thrilling first-half high points. ⭐ ⭐ ⭐ ⭐ Rating: 3.5 out of 5.

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Maamannan Reviews

Despite the presence of an amazing actor like Vijay Sethupathi, who is able to navigate many of his films on his shoulders, this film seems to be losing its way.

Full Review | Nov 2, 2023

...by the time that it ends, it turns into something more — a saga that is quietly affecting.

Full Review | Original Score: 3/5 | Nov 2, 2023

Maamanithan doesn’t beat around the bush and tells a nice story straight from the heart.

Vijay Sethupathi and Gayathrie try their best to save this simple melodrama from sinking.

Maamannan is hate-filled, idiotic garbage with excessive scenes of animal cruelty. It rehashes the same old plots of family feuds and murderous revenge that have already been done in much better ways in many other action flicks.

Full Review | Jul 12, 2023

It doesn’t function as the emotional, gripping political thriller the film wants to be. A weak lead actor and a frayed story that doesn’t seem particularly interested in its characters leave you rather cold. A.R. Rahman’s great soundtrack can’t help it.

Full Review | Original Score: 5/10 | Jul 1, 2023

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'Maamannan' Review: Mari Selvaraj directorial strikes a chord with audiences but falters in storytelling

'Maamannan', directed by Mari Selvaraj and featuring Vadivelu, Udhayanidhi Stalin, and Fahadh Faasil in lead roles, has finally premiered in theatres today. It undoubtedly adds another feather to Mari Selvaraj's cap as a director, showcasing his brilliant execution. The movie digs deep into the intricacies of caste politics and sheds light on the enduring impact it has on individuals from marginalised backgrounds in contemporary society. While the film remains politically astute and compelling, some viewers may find the story to be less meticulously crafted. Despite its strong political correctness, the movie's storyline suffers. Vadivelu portrays the character of MLA Maamannan, hailing from a lower caste, while his son Adhiveeran, a martial arts instructor, staunchly opposes the prevailing discrimination in society. Keerthy Suresh plays the role of Leela, Adhiveeran's friend, and Fahadh Faasil embodies Rathnavel, a slightly eccentric but influential politician from a higher caste who staunchly believes in maintaining oppressive traditions against the lower strata. The film revolves around the political battle between Maamannan and Rathnavel, primarily focused on the electoral arena, serving as the central theme of the movie.

From the very beginning, the movie intrigues the audience with its intense and vivid scenes that strike a chord. It immediately establishes the power dynamics between the privileged upper echelons of society and the oppressed lower strata. The film delves deep into the pervasive influence of caste on people's minds and unflinchingly explores the inherent violence that stems from it.

This movie has the objective of evoking emotions among its viewers, given the sensitivity and significance of its subject matter. One impactful scene involves Fahadh Faasil's character, Rathnavel, who metaphorically refers to the lower caste as the dogs he has kept, only to face the consequences when they bite him back. Through this dialogue, the audience is confronted with the harsh reality that discrimination against the lower caste has persisted for centuries, a battle that the nation continues to fight. Mari Selvaraj employs powerful symbolism in the movie to advocate against caste oppression. Fahadh Faasil's character is often portrayed in shots where he looks down upon others, symbolizing his position of privilege and superiority. On the other hand, Vadivelu's character is consistently shown crouched with folded hands, reflecting the power dynamics at play, where he represents the marginalized. These visual cues effectively convey the stark contrast and inequalities inherent in society.

'Even 60 takes a scene not okay for Fahadh': Udhayanidhi Stalin

Fahadh Faasil plays villain in Mari Selvaraj's 'Maamannam', joins shoot

Vadivelu reigns supreme in the movie, displaying his unmatched talent, while Fahadh Faasil provides tough competition with his exceptional acting skills. Additionally, this film showcases the versatility of Udhayanidhi Stalin in his final performance, delivering a commendable portrayal. Although Keerthy Suresh's character may not have significant prominence in the film, she manages to deliver a decent performance with the role she is given. The impactful theme of the movie is further enhanced by the powerful music composed by the legendary A R Rahman.

While the movie displays remarkable focus in its first half, it appears to lose its direction in the second half. The audience easily anticipates the climax, which diminishes the level of excitement. Certain scenes in the film tend to drag on unnecessarily, leading to moments where the film feels tedious and unengaging. Udhayanidhi, in his final movie, appears to have opted for a safe and crowd-pleasing storyline that aims to attract a larger audience.

Despite these concerns, 'Maamannan' remains a must-watch film that effectively highlights the importance of addressing such societal issues. Mari Selvaraj has skillfully assembled a decent piece that succeeds in bringing this topic to the forefront.

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Maamannan Movie Review : An okayish, but hardly potent sociopolitical drama

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Thangarajan 75 171 days ago

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Maamannan Review: Is Udhayanidhi Stalin, Fahadh Faasil, Keerthy Suresh's film worth watching? Read THIS

Maamannan Twitter Review: Fans and critics who saw the film Maamannan in the United States express their thoughts on social media. Did the film genuinely connect with the audience's emotions, as Dhanush had stated? Check out these intriguing Twitter reviews of the film Maamannan

Maamannan, directed by Mari Selvaraj and starring Udayanidhi Stalin, Keerthy Suresh, Fahadh Faasil, and Vadivelu, is in theatres today (June 29, 2023) worldwide. While Mari Selvaraj's comments on Thevar Magan in front of Kamal Haasan at the Maamannan audio launch generated controversy, and the film lacked buzz, Dhanush's tweet yesterday urged fans to book seats. "Mari Selvaraj's Maamannan is an emotional work." Mari, please accept my heartfelt congratulations. Vadivelu sir and Udhayanidhi Stalin have both given excellent performances. Fahadh and Keerthy Suresh did an excellent job. The interval will cause theatres to explode. Finally, AR Rahman Sir.. BEAUTIFUL," Dhanush exclaims.

Dhanush voiced his support for Mamannan while appearing in the film Karnan, directed by Mari Selvaraj. Many harsh comments have piled up under Dhanush's post, with some writing things like "Anna, don't even join with him," "Don't wish for Mari," and "This guy is working too hard for the money he got for promotions (Kodutha kaasukku mela koovuran)." Netiens Contrast Nenjukku Needhi with Maamannan "I'd like to see how Maamannan fits into UdhayanidhiStalin's politics," one of them says. Nenjuku Needhi, in my opinion, was a decent remake that was changed to reflect Dravidian politics."

On the other side, Red Giant Movies tweeted, "All eyes on him (Mari Selvaraj), and he's all set to leave us speechless once again with his story." Many Vadivelu fans are anticipating the film with the hope that "this might turn out to be VADIVELU's lifetime best role ever."

According to sources, the first performance in Tamil Nadu would begin at 9 a.m. Let us wait till 12 p.m. today to learn the precise crowd reaction to the film Maamannan. Maamannan Day 1 Box Office:  Mari Selvaraj's Maamannan is predicted to gross roughly Rs. 10 crores at the box office on its first day. According to early indications, the pre-booking collection has surpassed Rs. 6 crores. This is often regarded as Stalin's greatest compilation. It is worth noting that the picture received harsh criticism and had low advance bookings till yesterday afternoon. It is also stated that many Tamil Nadu fans purchased their seats for the film Maamannan just after actor Dhanush's gratitude tweet.

The film is said to have a total budget of Rs. 35 crores. Considering the budget, the day one collection reports are too good, and it will definitely make a good profit for the producer of the film.

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Maamannan Movie Review; An intense movie with good political correctness

• REVIEW BY ARUNJYOTHI. R 

•Language: TAMIL 

•Duration: 02 Hours 27 Minutes. 

•Genre: Political Drama Thriller. 

•Director: Mari Selvaraj 

•Production: Red Giant Movies 

•POSITIVES: 

1: Direction 

2: Music and background score 

3: Performance of Fahadh Faasil 

4: Performance of Vadivelu

5: Cinematography 

6: Editing 

7: Social relevant messages 

8: Brilliant first half with terrific interval block 

• NEGATIVES : 

1: Predictable story 

2: Second half lacks to give an impact 

3: Udhayanidhi Stalin’s performance was unconvincing 

4: The screenplay writing could have been focused more 

5: Predictable climax 

6: Average action scenes 

• ONE WORD : An intense movie with good political correctness. 

• STORY IDEA : 

The plot of the story is happening in the Salem district of Tamil Nadu. Maamannan (Vadivelu) is an MLA from Kasipuram who is from a Dalit community. He lives with his wife and son Adhiveeran (Udhayanidhi Stalin) but Maamannan and Adhiveeran do not speak to each other for ten years. On the other hand, Rathinavel (Fahadh Faasil) is a strong leader in the political party of Maamannan who is rich and doesn’t like to see the growth of anyone coming from the lower community. So, the story will take a turn when Rathinavel disrespects Maamannan and it will lead to big political and caste discrimination conflicts. 

•DETAIL REVIEW : 

The film Maamannan is written and directed by Mari Selvaraj and produced by Udhayanidhi Stalin under Red Giant Movies. A.R. Rahman composed the music, Theni Eswar handled the cinematography and Selva R.K. did the editing for the film. The film has a duration of 155 minutes and with a U/A censor certificate, the film is currently running in theatres. 

Pariyerum Perumal and Karnan are the last two previous films of Maari Selvaraj which talked bravely about caste discrimination and many political statements. Those two films were brilliantly executed by Maari Selvaraj and when ‘Maamannan’ was announced I was having huge expectations but after watching I would say that I am not completely satisfied. Maamannan is a good engaging film with much political correctness but unfortunately, I didn’t get a different cinematic experience that I expected from a director like Mari Selvaraj. The story and screenplay of Maamannan are something that we have seen before, the only difference made is the comeback of Vadivelu. 

The filmmaking style of Maari Selvaraj always has something different and his last two previous works are proof of a different cinematic experience. The magic which Maari Selvaraj had created was not able to be fully seen in his third film Maamannan. The main reason for that is the second half, the first half was truly amazing but sadly the second half partially failed to maintain the impact. Till the interval the movie was served with many exemplary moments and the emotions in the characters were conveyed effectively. The writing and direction of Mari Selvaraj were having the right balanced depth and as a viewer, I was fully engaged with the first half. But the second half went mediocre and the flat writing of the screenplay was failing to give some incredible moments. The predictability in the second half was making my viewing experience dull, till the climax everything was like something as we have seen before. 

The last few minutes of the climax were good, but the journey from the second half to the climax didn’t surprise or excite me. What was going to happen next was easily understandable, and the emotional bondage of the father-son combination of Vadivelu and Udhayanidhi Stalin was getting softer. The second half was more focused on political rivalries and the election campaign fights but all those scenes were following the regular template of many political movies. So, a thrilling and compelling cinematic mood was lost in me and the quality technical side and performances made the second half watchable. I wish the direction and writing in the second half could have been focused more. Still, the exceptional first half and the performance by Vadivelu and Fahahdh Faasil should be considered and these factors are the major winning factors of the film Maamannan. 

The caste discrimination and the disrespectful caste ideologies which many people used to follow from old time was once again bravely told by Mari Selvaraj. The first half had some shocking scenes which were related to caste discrimination and it was cleanly directed by Mari Selvarj. Those scenes are thought-provoking and I believe that those scenes had the power to make anyone rethink. The intensity of the caste-oriented scenes in the movie was top-class, I was able to feel the pain and humiliation that the central character suffered. Also, I will appreciate Mari Selvaraj for showing the right political correctness, all those scenes were like an eye-opener which will teach anyone to rethink what’s right and what’s wrong. So the social messages in the film Maamannan were strong enough but the average and predictable second half was not allowing the graph of Maamannan to grow. 

The flashback scenes in the film will shock you. I was stunned by seeing the visuals and I was thinking whether something like this had happened before real and if happened what will be the emotional damage caused? It’s hard to imagine, the flashback scenes in the first half were extraordinary. The black and white colour tune used for the flashback was also making the scenes more intriguing and compelling. The flashback scene also had the right synchronization with the present scenes. The father character played by Vadivelu doesn’t speak to his son for ten years. They live in the same house and I was wondering what would be the reason for that. Here, the cleverness of Mari Selvaraj was evident, the reason why the son character of Udhayanidhi Stalin doesn’t speak with his father was having proper valid reason and justification. The director Mari Selvaraj has subtly portrayed the struggles of a loving father, in the scene in which Vadivelu standing alone and crying and also struggling to take the right decision was magnificently shot. That particular scene made me emotional and the mental trauma of a leader and a father was seen beautifully. So during the entire first half, I was able to connect well with the writing and direction of Mari Selvaraj. 

The first-half ending block is the next major highlight of Maamannan, it was unexpected and unpredictable. The power-packed interval block created a big impact and I thought it was a promising start for something big but sadly the second half turns unsatisfying. Vadivelu and Fahadh Faasil are the souls of this film because their outstanding realistic performances had given a great impact and they made this film engaging. Both of them showcased their real acting skills and how they understood their characters in a realistic way should be largely mentioned. The timing of the dialogue delivery by Fahadh Faasil was mind-blowing and his facial expression was priceless. The scene in which Fahadh suddenly shows anger and the mood-changing situation was flawlessly handled. Vadivelu as Maamannan shines throughout, the emotional side of his character was masterly acted out. The scenes in which he faces political discrimination were upsetting and the combination scene with Udhayanidhi Stalin showcased the love and care of a real father. Udhayanidhi Stalin as Athiveeran was a wrong choice, I didn’t like his performance because of his dull expressions. Also, the emotions in his character were not fully seen, and the action sequences looked weak. Keerthy Suresh did a fine performance and Lal as the Chief Minister did justice to his supporting role. 

•MUSIC AND BACKGROUND SCORE : 

The musical work for the film and the background score is composed by the legendary A.R Rahman. The song “Raasa Kannu” is my favorite among the seven songs in the album. The voice of Vadivelu and the powerful lyrics of Yuga Bharathi and the minimal orchestration tuned by A.R Rahman made the song magical and melodious. The four-note string tune in the song was taking my thoughts to lots of imagination and while hearing the song in the theatre I went extremely emotional. I’m sure the dominating singing by Vadivelu will melt your heart and now the song “Raasa Kannu” is on my personal hit list. The end credit song “Jigu Jigu Rail” sung by A.R. Rahman was superb, I enjoyed the chorus portion and the meaningful lyrics were catchy for the ears. The song “Kodi Parakura Kaalam” had a bang effect and made the introduction of Keerthy Suresh’s grand. The song “Veerane” sung by the son of A.R. Rahman worked well, the father-son energy was evident in the song. The vocals of Ameen matched rightly and the high points in the song were handled carefully. Another song “Manna Maamanna” sung by Arivu was enriched with rap vibes and it was fitting for the scenes. 

The entire background score in the movie was excellent because the BGM was having a dominating power to influence us. The background tunes were flawlessly giving the feel and intensity of the scene so all the crucial scenes in the movie had the backup of many powerful background scores. A.R. Rahman was successful in giving the right tunes, I was able to connect well with many crucial scenes and I didn’t feel the background score went off-balance at any place. The Background tunes in the emotional scenes were brilliantly tuned, and also all the flashback scenes were packed with extremely remarkable background tunes to melt our hearts. Without thinking much I can strongly say that A.R. Rahman’s songs and background score for ‘Maamannan’ is one of his best and most brilliant works. 

• TECHNICAL ASPECTS : 

The cinematography by Theni Eswar is one of the major highlights of the film ‘Maamannan’. Each and every single frame in the film was having a predominant quality and it’s one of the best cinematography I have seen in recent times. The visuals were telling the story, and Theni Eswar was beautifully capturing the emotions in the characters. The close-up frames of Fahadh Faasil and Vadi Velu were in the right balance and everyone will be able to see the emotions present in them. The natural acting talent of Vadivelu and Fahadh Faasil was caught amazingly by the cinematographer and it was exhibiting their best acting skills. The wide-angle shots and the different placement of the camera had given a realistic vibe and what the director was trying to convey was given by Theni Eswar through his camera. Some of his shots and visuals in the flashback scenes were heart-touching and also shocking. So, overall Theni Eswar as a cinematographer had given his best with compelling and thought-provoking visuals. 

The editing by Selva R. K. was good, the overall direction of 155 minutes didn’t feel as boring to me. The transition of scenes was smoother for viewing and the black and white colour grading for the flashback scenes had given an extra impact. A kind of emotional attachment was easily able to be felt and mismatches were never felt in the cuts. The action scenes in the film were unsatisfying, the character played by Udhayanidhi Stalin is a martial art trainer so the way he should fight must have some power but all his action sequences looked weak without any energy. 

• CONCLUSION:

So overall, the film Maamannan has given me a fair watchable cinematic experience but I am not fully satisfied with the film. The direction of Mari Selvaraj was good but his writing of the screenplay turned out to be a half-baked cake. The film is having a brilliant second half followed by an average second half, sadly the drama didn’t have the right balance in the second half. The soulful realistic performance of Vadivelu and Fahadh Faasil is something which should be watched on the big screen. Therefore if you like to watch a decent political thriller drama the film Maamannan can be considered. But the magic of Mari Selvarj filmmaking which we saw in Karnan and Pariyerum Perumal can’t be seen in Maamannan. 

• VERDICT :  A WATCHABLE POLITICAL DRAMA. 

• RATING : 3/5

• A REVIEW BY ARUNJYOTHI R 

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'Maamannan' movie review: Fiery premise, flaky results

Much like  Karnan’s  protagonist,  Maamannan’s  Adhiveeran (Udhayanidhi Stalin) boils in rage. It’s all he can do not to smash things and punch people. He might walk and talk and eat and train like a normal man, but you can feel anger/stress/pressure/call-it- what-you-will eating him from within. Mari Selvaraj, in arguably his finest first half yet, shows mastery when he shares affecting information about these characters. We learn that it has been 15 years since Adhiveeran said a word to his father, Maamannan (Vadivelu), and once that powerful detail is registered, Mari goes on to show us in black and white, the event that led to this crushing family dynamic. More than  Pariyerum Perumal , more than  Karnan ,  Maamannan —in that first half—captures the depression and rage of being oppressed and stifled in a million different ways. You can’t drink water where everyone does. You can’t swim where everyone does. You can’t study where everyone does. You can’t sit. You can’t talk. You can’t look. And here’s how it gets even worse: You can’t even vent. When under such duress, how do you not implode into a flaming fireball of destruction?

And this is why the filmmaker won’t have Adhiveeran and friends cower in fear and docility. “Fight back!” as Adhiveeran, a martial arts trainer, tells his student. “Do not be a ‘kozhai’ to an ‘ayogyan’.” We saw this call for a fightback, through violent means if needed, in  Karnan  as well. While Adhiveeran is a martial arts trainer, the woman he’s interested in is a well-meaning upper-caste ally, Leela (Keerthy Suresh), who imparts education for free.  Balam  from Adhiveeran;  budhdhi  from Leela. The twin pillars of rebellion. And in case you don’t quite get the call for rebellion, there’s the quintessential Che Guevara tee.

I wish, however, that Adhiveeran’s martial arts prowess came in for sustained use in the film. As for Leela, I wish  she  came in for more sustained use. Towards the interval, when Adhiveeran rallies his allies for a vengeful act of vandalism, Leela joins in too—and I thought, “What an unusual visual to see a woman joining an angry group of self-righteous men as they smash some property about.” And yet—and this can be said of Mari’s previous two films as well—no one woman rises into the upper echelons of narrative importance, let alone match the significance of the main men. In  Pariyerum Perumal , the main woman is a metaphor. In  Karnan , she is a peripheral girlfriend. And now, in  Maamannan , despite some initial promise, she turns into a tag-along who might be a source of motivation to the hero at some point. This is a strange, consistent miss for this thinking filmmaker.

Mari Selvaraj’s use of animals as metaphors is, by now, an expectation in his films. The pigs and their plight, in this film, stand for Maamannan, Adhiveeran, and their trampled people. This time, the dogs seem to stand for oppressors, but even they cannot escape the ire of Rathnavel (Fahadh Faasil). The docility of pigs on one side and the ferocity of dogs on the other is a picture in contrast. While on painting, even Adhiveeran’s hand-drawn images tell a story. We see him sketch a ferocious dog and it seems a strange image coming from his pencil… But he plays with our perception by making a careful addition—and suddenly, we see the dog in a new light. It’s a wonderful touch and an extension of his wish that pigs would learn to save themselves—which is, of course, a metaphor.

Fahadh is fantastic as the casteist psychopath, Rathnavel. The way he’s dressed in white, the way his facial hair is designed, the name given to him… it’s hard not to wonder whether this is a reimagination of Sakthivel from Thevar Magan. There are some father-son dynamics as well, with Rathnavel striving to live up to his late father’s expectations.  Maamannan  could well be seen as a story of two fathers, and their sons. The big difference, of course, is how Maamannan is so full of remorse, while Rathnavel and father seem to be, like your garden-variety psychopath, remorseless. In fact, Rathnavel is worse than his father (as acknowledged by the Chief Minister, played by Lal).

His psychopathy is in full display, particularly in the best portion of the film—that interval scene in which Maamannan, Adhiveeran, and Rathnavel explode off each other, while backed by a terrific AR Rahman score. At the heart of this scene is the overtly simple idea of a man sitting down. At one point, Fahadh is distraught—and it’s not because he has just been kicked by a man he considers to be inferior. It’s because another man he considers to be inferior has taken a seat in his presence. The politics of it all lends itself to irresistible drama—and the politics over who should sit and who shouldn’t gets explored later as well, when Adhiveeran comes storming into the CM chamber. It’s all a searing takedown of every leader, who expects those below him in the pecking order to remain standing in obeisance. It's also a film critical of political parties that claim to work for the downtrodden while craftily never upsetting the status quo in order to preserve power.

These touches aside, it’s hard not to wonder what the casting of a political heir like Udhayanidhi Stalin (despite a no-problem performance) means in this film. It’s hard not to notice that when Udhayanidhi’s Adhiveeran is beckoned forward by a group of commoners—a scene shot and executed to communicate the sensations of a new leader—the sun features prominently in the shot. It’s hard not to notice how gentle the film is towards the Chief Minister portrayed in the film. It’s hard not to think about what it all means and why the film is as kind towards a powerful leader who seems to paint such a helpless portrait of himself.

Where the politics of the first half makes for such an entrancing, affecting experience, the same cannot be said about the journey the film takes post-interval. With the premise perfectly positioned for a clash of its pivotal three men, the film, in trying to present a larger solution, disassociates itself from these men and gets busy with capturing election shenanigans. Alliances are forged at the cost of dignity; news channels peddle their version of entertainment; and where I was, earlier, right inside the heads of these characters, I began to process the not-so-novel election charade from a distance. It all seems a tad convenient too. When some assistance comes Adhiveeran’s way, it feels a tad too orchestrated. When Maamannan records a video to fire up his campaign, the scene doesn’t feel as powerful as it should.  Even Rathnavel becomes a shadow of the menacing antagonist he was earlier. This means that despite Adhiveeran and Maamannan learning a crucial quality from each other—restraint and rebellion, respectively—there isn’t a whole lot of interpersonal drama to be experienced as the film tapers away to a tepid end.

Even if I walked out feeling like the film had gone astray, there are still enough powerful moments to make this a worthwhile experience. There are tasteful narrative echoes too. At various points, both Adhiveeran and Maamannan find themselves unable to understand how one person’s quest for justice ends up being derailed by a thousand opponents making it an issue of honour and pride. Another beautiful echo is how Maamannan, taking a moment to gather himself before resigning to his fate, finds a companion in Rathnavel doing something similar later.

I’ll remember the film for these tasteful details, sure, but if this film endures in my memory, it shall be mainly for how Mari Selvaraj has reimagined Vadivelu and reclaimed the dignity of his onscreen persona. Somewhere at the very beginning of this film, I was a tad wary of my own instinctive urge to laugh at the sight of Vadivelu, but I needn’t have worried at all, given how quickly the actor embodies this serious character. Mari Selvaraj doesn’t just stop by refusing to milk Vadivelu’s misery for humour; he makes us empathise and root for him. He utilises the actor’s singing prowess to fuel delicate emotional moments. He goes a step further and provides the actor with hero moments as well: Bringing out a gun in one scene, aiming it at Rathnavel in another, walking into an assembly… I could go on. But the most heroic is when Maamannan, the character, practises restraint. It’s a film in which Maamannan and his son, Adhiveeran, learn the difference between restraint and cowardice—and realise that they are both the better for it. The mere urge to fight, as advocated by Karnan and Adhiveeran, won’t do. It’s important to know the when and the how. Future Mari Selvaraj films will no doubt dig more about this—and there’s enough in the imperfect Maamannan to be excited by prospects.

Director: Mari Selvaraj

Cast: Vadivelu, Udhayanidhi Stalin, Fahadh Faasil, Keerthy Suresh

Rating: 3 out of 5 stars

(This review originally appeared on cinemaexpress.com )

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Maamannan Movie Review: Political correctness triumphs over story in Mari Selvaraj film

Director mari selvaraj's maamannan, starring vadivelu, udhayanidhi stalin, fahadh faasil and keerthy suresh, is a film that exposes the social injustice in society. while the film has some solid performances, the story does not have enough meat, says our review..

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• Maamannan is directed by Mari Selvaraj.
• Vadivelu, Fahadh Faasil, Udhayanidhi Stalin and Keerthy Suresh play lead roles.
• The film released in theatres on June 29.

Release Date: 29 Jun, 2023

Mari Selvaraj is a name that has been making waves on social media in recent days. From facing criticism for his brand of films to being embroiled in controversy over alleged mistreatment of his assistants, he has experienced both the highs and lows of fame. All this limelight for his latest outing, Maamannan, which boasts a star-studded cast including Vadivelu, Udhayanidhi Stalin, Fahadh Faasil and Keerthy Suresh.

Maamannan (Vadivelu) serves as an MLA representing the Kasipuram constituency and is affiliated with a political party that advocates for equality and social justice. His son, Adhiveeran (Udhayanidhi Stalin), is an Adimurai (a martial art practised in Tamil Nadu) teacher and also maintains a pig farm as a hobby. In the same village, Rathnavel (Fahadh Faasil) is an influential politician, who is the head of the political party that Vadivelu is associated with.

Leela (Keerthy Suresh) operates a free coaching center and faces threats from Rathnavel's brother. Leela and her friends bring this problem to Veeran, which snowballs into a huge ego clash between Maamannan and Rathnavel. This forms the story of Maamannan.

Mari Selvaraj is a promising filmmaker in the history of Tamil cinema, and his talent is undeniable. Having proved his mettle in films like Pariyerum Perumal and Karnan, there are high expectations surrounding Maamannan. The political thriller delves into hard-hitting themes of oppression, reservation and social injustice.

Maamannan is his weakest story when compared to his previous films. The film has some great moments that highlight Mari Selvaraj's prowess. However, these moments are not sprinkled throughout the film. The second half of the film has not much to offer in terms of story, hence it drags along. 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.

Mari Selvaraj spent his undivided concentration on gifting the audience a politically correct film. And he has succeeded in it. Right from the first frame, it has several moments that talk about oppression and social injustice. For example, we see Veeran teaching two of his students the importance of the fight. He lets them fight and then explains the difference between cowardice and ignorance.

Similarly, Mari Selvaraj's film is full of metaphors, which breaks stereotypes and raises pertinent questions. In Maamannan, we see pigs vs dogs throughout and the metaphor is simply lovely. While pigs are considered ugly, he defies this notion in his film. There are moments of greatness sprinkled throughout the film.

Maamannan has great performances by Vadivelu and Fahadh Faasil. To see Vadivelu acing a serious character who is calm and collected, is a break away from his comedy roles. Similarly, Fahadh Faasil, as an egoistic politician who takes pride in his caste, has wonderfully portrayed his character. Being Udhayanidhi Stalin's last film he has given it his all. His performance is moving and makes you root for his character. In other words, Maamannan is also a film that will help project him as the leader he wishes to be. Keerthy Suresh has an evocative role. However, her performance doesn't match up with the greatness on screen.

After the performances, it is AR Rahman who stole the show. Being a rural film, Rahman, with his Western tunes, has given a new colour to the film. Theni Eswar's visuals, especially the black-and-white flashback portions, enhance the mood of the film.

Maamannan is a film that raises important questions for society. However, it is let down by the screenplay, which has too little to offer.

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Maamannan review: Mari Selvaraj’s film is more than just a simple political thriller

Vadivelu and Fahadh Faasil put up an exceptional show; barring some minor issues, the movie leaves a mark on audiences.

Published:Aug 10, 2023

A poster of 'Maamannan'. (Mari Selvaraj/ Twitter)

A must-watch!

Maamannan (Tamil)

• Cast: Udhayanidhi Stalin, Vadivelu, Fahadh Faasil, and Keerthy Suresh
• Direction: Mari Selvaraj
• Producers: Red Giant Movies
• Music: AR Rahman
• Runtime: 2 hours 37 minutes
• Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
• Director: Maneesh Sharma
• Producer: Aditya Chopra
• Music: Pritam Chakraborty
• Runtime: 2 hours 35 minutes

Director Mari Selvaraj, best known for having delivered two critically acclaimed superhit films — Pariyerum Perumal (2018) and Karnan (2021) — comes up with a political action drama in Maamannan .

Despite its flaws, the movie succeeds in its mission of making several significant points by the time it ends.

Make no mistake about it; this film too is deep.

To the untrained eye, it might come across as just a simple political thriller that talks about a man from the oppressed classes winning an election. However, Maamannan is much more than that.

Maamannan (Vadivelu), a man from the oppressed classes, is the MLA of a particular constituency. His son Adhiveeran (Udhayanidhi Stalin) is an exponent of the ancient Tamil martial art Adimurai.

‘Maamannan’ trailer poster. (Mari Selvaraj/ Twitter)

While both father and son are equally passionate about social justice and equality, they are not on talking terms. It’s been that way for the last 15 years and the incident that triggered this cold silence happened when Maamannan was an ordinary party worker.

Maamannan’s inability to bring to justice four upper-caste villagers who brutally stoned some lower-caste boys to death for taking a dip in the temple well makes Adhiveeran stop talking to his dad.

Now, 15 years later, MLA Maamannan believes he has power and can make a considerable difference.

It is under these circumstances that one day, Leela (Keerthy Suresh) — Adhiveeran’s classmate in college — and her friends seek Adhiveeran’s help in finding a place for them to conduct free coaching classes for students from the underprivileged sections appearing for several competitive exams.

Related: ‘Maamannan’ will be my last film, says Udhayanidhi Stalin

Leela’s institute, which offers free coaching to all those students who approach it, earns the ire of another popular coaching centre that’s looking to make money.

The coaching centre’s owner who happens to be the brother of Rathnavel (Fahadh Faasil), a powerful politician from Maamannan’s party, sends goons to ravage Leela’s institute. Leela and Adhiveeran respond in kind, triggering a huge clash between both parties.

A shrewd politician he is, when Rathnavel realises that Adhiveeran is the son of his own party man Maamannan, he looks to resolve the issue peacefully by holding talks. He sends for Maamannan and Adhiveeran to sort out the issue. What happens then is what Maamannan is all about.

Today 🤴 pic.twitter.com/lTINCTaVi9 — Mari Selvaraj (@mari_selvaraj) June 29, 2023

Showcases real power game

Like all of Mari Selvaraj’s other films, this film too deals with the bias and injustice being meted out to those from the oppressed classes. However, Maamannan is distinctly different from his earlier two films.

A poster of Mari Selvaraj ‘s ‘Maamannan’. (Mari Selvaraj/ Twitter)

The protagonists of his earlier films had no real power in society and therefore had to face social injustice. But here, Maamannan (Vadivelu) suffers humiliation and belittlement despite wielding considerable power.

The film’s plot is layered and it makes many significant points. First among these is that even if those from the oppressed classes occupy positions of power, they continue to be sidelined and looked down upon.

The next point that Mari Selvaraj makes, which eventually turns out to be the USP of Maamannan , is that people from the oppressed classes must assert themselves and claim their rights. They must not look at their rights as a favour being extended to them by those from the privileged classes.

The film beautifully shines the light on the intricacies of power and how it is wielded surreptitiously by those who have been enjoying it for generations on the one hand.

At the same time, it also shows how those from the present generation, who are more aware of their rights, will not forsake their self-respect and forgo their rights, even for the sake of their parents.

Also Read: Nikhil’s ‘Spy’ is marred by inadequacies and poor execution

Nothing like a blockbuster welcome. Thank you for all the love. #Maamannan in cinemas now, book your tickets soon. @mari_selvaraj @Udhaystalin @RedGiantMovies_ @KeerthyOfficial #Vadivelu @arrahman #FahadhFaasil @thenieswar @editorselva @dhilipaction @kabilanchelliah … pic.twitter.com/WDaqQcAsog — Red Giant Movies (@RedGiantMovies_) June 29, 2023

Outstanding performances

Two people deliver outstanding performances in Maamannan .

Fahad Faasil in ‘Maamannan’. (Mari Selvaraj/ Twitter)

Fahadh Faasil as Rathnavel impresses yet again. He comes up with a performance so sharp that it is hard to imagine another actor playing his part.

Vadivelu as Maamannan showcases a side he has not shown the world so far. Measured, dignified, polite and kind always, Vadivelu as Maamannan is just exceptional.

It is completely different from what we have seen Vadivelu perform before but it is as impressive if not better than all his previous roles.

Udhayanidhi Stalin, who delivered an admirable performance in his previous film Kalaga Thalaivan (2022), comes up with yet another neat performance as Adhiveeran.

Also Read: Fans save 7 Star Sultan, the fighter-actor sheep, from getting sacrificed on Bakrid in Karnataka

Minor flaws.

While Maamannan succeeds in putting across the message it intends to send out quite convincingly, certain not-so-significant portions seem out of place or inadequate.

For instance, the flashback portions of Adhiveeran do not give a complete picture and leave the audience guessing.

We know that the boy leaves his home and goes away, disillusioned by the turn of events. However, we are not given any adequate details on Adhiveeran’s teacher who finds him and brings him back.

Also, the romantic portions between Keerthy Suresh and Udhayanidhi Stalin don’t work.

Except for these minor issues, Maamannan works big time.

(Views expressed here are personal.)

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Home » Reviews » Tamil Movie Reviews

Maamannan Movie Review: A Conversation So Important That You Might Even Want To Ignore The Flaws

This is udhayanidhi stalin’s last film before he took a break from acting to focus on his political commitment, and he chose an apt character.

Star Cast: Udhayanidhi Stalin, Fahadh Faasil, Vadivelu, Keerthy Suresh, Lal, and ensemble.

Director: Mari Selvaraj.

What’s Good: The responsible political voices that talk of the evil with a very balanced and perfect gaze. An actor who himself is a politician taking down the same system that he represents to re-establish it is the most meta thing one can see right now.

What’s Bad: The screenplay loses the grip more than once, and in the attempt to grow the canvas horizontally, it ends up diluting the efforts.

Loo Break: it’s available on digital now. Use that pause button because nothing is so questionable that you miss it.

Watch or Not?: With its flaws, Maamannan is an important film. As we consume so much propaganda, this movie has none to serve but only talk of equality and equal grounds.

Language: Tamil (with subtitles).

Available On: Netflix.

Runtime: 157 Minutes.

Maamannan (Vadivelu), a man born to a marginalised community, is the MLA representing the Kashipuram constituency and backs a party that talks about social justice and equality. His son Adiveeran, an Adimurai teacher, also runs a pig farm as hobby. The opposition, Rathnavel (Fahadh), a man from the upper caster, doesn’t want any ‘low born’ to have a seat of power. What happens when Adiveeran forces his father break the conditioning and oppression by making him sit in front of Rathnavel is the film?

Maamannan Movie Review: Script Analysis

Mari Selvaraj (with who lot of bad press attached to him ) is a filmmaker who has been a distinct voice in the Indian cinema. His idea of telling stories about the inequalities in India has always been about showing the now world compared to a mythological tale or the past era. The attempt of showing that not much has changed even now in the places where internet is still an alien concept, and the world has moved ahead leaving them behind, is commendable. Karnan , a movie that shook us all to our cores, was one such film that spoke about a man going rogue by taking things in his hand and demanding the rights he was never cordially given.

Walking on a similar trajectory Gulzar Sahab did as a writer (Hu Tu Tu, Machhis), Mari writes his movie with young protagonists trying to bring the change rebelliously. In Maamannan though, he tries to bring the more practical turn to his main man. Yes, he fights and can take down and entire group of men who insult his father for just being born, but he is also mindful that a man-to-man fight will only solve the issue between two people, and the battle he is fighting is that of an entire community. Filmmakers evolving through their material is the most fulfilling thing to watch, and Selvaraj, after giving some of the most nuanced and thoughtful films, makes it clear that even his stories have scope for a new dawn and ideas.

Maamannan is a very thought about film. It is not busy forcing you believe in its conversation but wants to invite you on the journey to give a few people their rights. The balance is so good that it never feels biased. It is unsettling, and let’s be very clear, stories of inequality and the privilege pushing the have-nots under the bus are never easy to sit through. Because they make you look at your privileges as a person. Maamannan makes sure you feel those when 4 men stone and kill 3 young boys because they are low borns and they decided to take a dip in the temple pond. For them, these kids are a ‘danger’. Metaphors run deep, and Mari lets you absorb them. One that pitches pigs against groomed dogs is the best and becomes a recurring motif that defines the movie.

Amid all that substantial story, what Maamannan lacks is a screenplay that does justice to the base material. The first half is invested in just setting up the big fight, and it is interesting how that fight is fought through an election. But the second half becomes a dragged race that keeps on playing in loop with a repetitive structure. The script also ends up underusing Keerthy Suresh’s character and the setup around her. The kids from her coaching act as padding in scenes and not concrete plot devices.

Maamannan Movie Review: Star Performance

This is Udhayanidhi Stalin’s last film before he took a break from acting to focus on his political commitment, and he chose an apt character. A young man with rage fighting a battle through elections and weapons is exactly what a politician should be representing, and even if this is PR or a marketing strategy on his personal end, it is one of the best ideas. He gives Adiveeran his all because you can see him feeling a lot for the character and his silent journey. The actor becomes one with the part and leaves no room for complaint.

Fahadh Faasil as the egoistic upper-caste man who thinks rest everyone was born to serve him, is brilliant. How can he make us love him in one movie and hate in the next? The actor is precious and should be treasurer at all cost.

Vadivelu, who plays the titular part, still has the fire in him left that thinks of surprising his fans. For an actor who is mostly associated to comedy dramas, he plays a serious part that has no room for light and even a smile. He excels and doesn’t even once let you think of the times he made you laugh.

Keerthy Suresh does what she is expected too, but is mostly serving Adiveeran. I hope she had redemption of her own after she helped Adiveeran find his. Her storyline feels incomplete and left unattended.

Maamannan Movie Review: Direction, Music

Mari Selvaraj’s direction is both interesting and also stretched. While the way he places scenes and makes you decode their relevance and accuracy of them is a sign of a confident filmmaker. He chooses to open it with Adiveeran explaining two boys to fight for themselves and not really be a punching bag. There is so much to absorb as a person in the stories he tells. The second half is where the dragging begins and never ends until the end.

DOP Theni Eswar creates some very interesting visuals. Especially when he shifts the tone to monochrome, he makes some of the most haunting visuals, and the storyline supports. AR Rahman ensures he only elevates this movie to the best of his capabilities by not following a stereotypical route. He chooses to use fresh modern music in Maamannan. It works so well and indicates that this isn’t a story from the past, but exists in the present, where you talk about progress and equal opportunities on world stages.

Maamannan Movie Review: The Last Word

This could be the most average flick from Mari Selvaraj’s mill, but it is still a potent film that needs to be consumed for what it represents. It’s a fresh take with a weak screenplay, and you can watch it even with the flaws.

Maamannan Trailer

Maamannan releases on 29th June, 2023.

Share with us your experience of watching Maamannan.

For more recommendations, read our Ponniyin Selvan 2 Movie Review here.

Must Read: 2018 Movie Review: Tovino Thomas Embodies Empathy In A Movie That Proves Humanity Wins Over The Chaos In Any Form

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Maamannan Movie Review

Vadivelu, fahadh and udhay come together for a mostly gripping political drama. here goes our maamannan movie review..

Performances

Story & narration, technical aspects & music.

Very few filmmakers in Tamil cinema have the craft, knowledge and a note to current affairs built into their cinema. But Mari Selvaraj, with the two films he has delivered so far, has managed to strike a strong voice into their society, and also managed to make big inroads into caste politics and the inequality that exists in our society. Maamannan, his third outing, is a testament to the same.

Mari Selvaraj bases the storyline of Maamannan on real incidents, and the pivot of the proceedings is anyways Vadivelu’s character of the ‘Maamannan’ – where the story actually originates from. Supporting by good writing and solid filmmaking strokes, the film slowly sets itself up in the first half and then gives us a terrific interval scene which is easily the best part of the film. The bang that Mari Selvaraj manages to create at the halfway point of the film breaks a huge impact, and the film catches fire from thereon and begins to hold us emotionally throughout. However, things begin to slow down in the second half where the plot progression is cut down by half. The intensity and the emotional value that the first half presents is not there in the second, which the film feels a bit lightweight here.

What works best for Maamannan is in how Mari Selvaraj handles his actors – Vadivelu is utterly brilliant in a lifetime role that gives him so much do in such a different way. The extremity that he achieves with this heavy and solid role is something that will be remembered for centuries.

Fahadh Faasil is a powerhouse addition to the film, and his scene in the first half along with Udhay will be special for sure. Udhaynidhi delivers a measured and efficient performance in the first half, and the second half is where his acting really takes off and shines. Keerthy has a neat and tidy role in the film, and does deliver her dialogues brilliantly making it count. The film also has loads of other members in the cast, who are all handpicked and do their parts to the T.

Maamannan would not be the same without AR Rahman’s excellent score which is a big boost to the film. The songs amp up the energy of the film, while the score is topnotch throughout and does not let the intensity die down at any point. The visuals by Theni Eshwar is apt too, and captures the fiery frames with great precision.

Mari Selvaraj’s Maamannan does not have the continued intensity present in films such as Pariyerum Perumal and Karnan – the film does present itself superbly but cannot get rid of few dull moments popping up here and there. However, the director once again delivers an impactful and important film that talks about pressing issues and drives home a great debate on the same. Watch it for the fantastic performances, the rousing high moments in the first half and the packaging of politics in an immersive way.

Maamannan Movie Review Rating: 3.5/5

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