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lm stars an ensemble cast that includes Udhayanidhi Stalin, Vadivelu, Fahadh Faasil, Keerthy Suresh
Storyline: A father-son duo turns from pawns to players in the game called politics
One of Maamannan's most significant and beautifully captured sequences depicts a group of children enjoying themselves, swimming and playing in the temple well. However, when the upper-caste men discover this, they ruthlessly attack the defenseless kids, stoning most of them to a tragic demise. While incidents of caste-related violence are unfortunately not uncommon, it is the unique framing and presentation by Mari Selvaraj in this particular sequence that sets it apart, making it worthy of being part of the Mari Cinematic Universe, if one were to call it that.
In this sequence, the children from the oppressed community find themselves at the bottom of the well, while the oppressors stand atop, assaulting them without mercy. One of the children manages to escape the onslaught of stones and flees to the top of a nearby hill, a height so great that it diminishes the stature of those who stood above. The child weeps for the fate he narrowly avoided, realizing the immense height he must climb to liberate himself from the perils of caste. This subplot also mirrors the story of Maamannan, featuring Udhayanidhi Stalin, Keerthy Suresh, and the fantastic Vadivelu and Fahadh Faasil.
Maamannan and his son Athiveeran (Udhayanidhi Stalin) to meet Rathnavel. Witnessing the years of disrespect faced by his father, Veera (Athiveeran) lashes out at the opposing faction, setting off a chain of irreversible events.
Apart from the politics and ideologies surrounding social justice, Mari has become synonymous with his unique metaphors and imagery, and "Maamannan" is no exception. Rathnavel indulges in dog races, showing no remorse in killing the poor creatures when they fail. He perceives his fellow party members from the oppressed community as mere hounds he breeds, expecting nothing but loyalty and results in return. On the other hand, Veera is captivated by pigs, saving one from ritualistic sacrifice during his childhood and even envisioning them with their own wings. Similar to how the titular hero of "Pariyerum Perumal" regarded his pet Karuppi as an extension of himself, Veera finds a parallel with a piglet, the sole survivor of an unwarranted attack, just like him. From Mari's signature wide-angle shots and subtle references to figures such as Buddha, Ambedkar, and Che Guevara, to nods like the Wakanda T-shirt and Veera's mastery of Adimurai, a martial art uncommon among the oppressed community, the film is filled with Mari's distinct symbolism.
When the film focuses on Maamannan, Mari conveys his message directly. True to his name, Maamannan's character is depicted as a patient go-getter, contrasting his son's impulsive nature. This stoicism also allows Vadivelu to deliver a powerful performance. As an actor who has entertained us for years by making us laugh through his suffering, Vadivelu now makes us cry with him. In a particular scene, he weeps helplessly as a father unable to bring his son's wrongdoers to justice, and his poignant lip-syncing to sorrowful songs tugs at our heartstrings. Vadivelu's portrayal showcases his ability to underplay a role and embrace realism, leaving us wondering why we have never seen him in such roles before. The closest we have come to witnessing such performances were glimpses in films like "Sangamam," "Em Magan," and "Thevar Magan." After watching "Maamannan," it becomes evident why Mari draws parallels between Maamannan and Esakki from "Thevar Magan."
Following Vadivelu, Fahadh Faasil steals the show by becoming the embodiment of terror he wishes to instill in those around him. While his approach to the character may share traits with his previous roles in Malayalam cinema, he carefully crafts a portrayal that symbolizes injustice. Mari's films typically have ideologies and the deeply rooted concept of systemic oppression as the antagonists, rather than a single individual, and Fahadh Faasil embodies this notion exceptionally.
Despite having a limited filmography that leaves us longing for more, it is difficult not to compare Mari's previous films to "Maamannan." Given his brilliant track record, it is evident that Mari has chosen a slightly different treatment for this story, and unfortunately, it does not work entirely in the film's favor. Unlike "Pariyerum Perumal" and "Karnan," where the conflicts are established early on, "Maamannan" takes almost until the intermission to provide a clear direction for the story. Despite featuring a spectacular interval sequence, which has become a trademark of Mari's films, the second half feels uninspiring and falls flat. The film sacrifices its rawness for certain commercial compromises, such as an unnecessary romantic track and mass moments that fail to translate into satisfying sequences, ultimately hindering the overall impact.
If Jo from "Pariyerum Perumal" was oblivious to the oppression her boyfriend faced and Draupadhi from "Karnan" was a mere bystander to the injustice inflicted upon her village, Leela (Keerthy Suresh) in "Maamannan" tries to be part of the solution. Although Leela is a fascinating character, skillfully portrayed by Keerthy, the film fails to fully explore her potential. In both "Pariyerum Perumal" and "Karnan," impactful sequences followed the hard-hitting moments, convincingly delivering the director's message. The death of Karuppi and Pariyan's mistreatment were accompanied by a poignant final shot featuring two tea glasses. Scenes of custodial violence and the ravaging of a village were followed by shots of Karnan joyfully dancing with his community as if there were no tomorrow. These sequences, which felt like warm hugs from the filmmaker, are noticeably absent in "Maamannan."
Unsurprisingly, "Maamannan" is a technically strong film, and while AR Rahman's songs are pleasing to the ears, the background score falls slightly short. The film boasts a host of brilliant lines, such as Rathnavel's statement, "Unna ukkara vaikaadhadhu dhaan ennoda adaiyaalam, un paiyana ukkara sonnadhu en arasiyal." Fans of Tamil cinema from yesteryears will also appreciate the clever inclusion of Vijaykumar in the role of the opposition party leader. The film's noble intentions, its exploration of oppression and the need for reservation, are commendable. It is evident why Udhay chose this film to be his swansong, especially considering its partial inspiration from MLA P Dhanapal's rise to become the first Dalit Speaker of the Tamil Nadu Assembly, following the reorganization of states in 1956 during the AIADMK rule.
"Maamannan" certainly has its heart in the right place and touches upon several important topics, including reserved constituencies. However, the impactful scenes that are synonymous with Mari's films are few and far between. Overall, "Maamannan" is an underwhelming political drama that is saved by the brilliant performances of its lead cast. But when the kingdom is ruled well, who cares about an imperfect ruler?
"Maamannan" is currently playing in theaters.
