Mari Selvaraj’s ‘Maamannan’ is a solid drama, with a gripping first half and a generic post-interval section

by bollywoodbubbles
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The film, which stars Vadivel, Fahad Fasil, Kisi Suresh and Udayanidhi Stalin, has some great parts and some parts where the ideas don’t match the script.

Mari Selvaraj delivers a great character arc in the first half of her third feature film. Mamannan, deployed in Salem. Vadivel gives a moving performance as the title character. His weathered face carries the weight of the times. At the beginning of the movie, he is his MLA. When the title appears, AR Rahman unleashes a fanfare fit for a king. In other words, we are not a movie where people from oppressed castes must rise from party obscurity to reach high ground in triumphant interval blocks and triumphant climaxes. From the beginning, Mamannan wears the same color as the dominant caste politicians: white. He’s already “arrived,” so to speak, and one might wonder what’s left for the film. If the village of Karnan already has a bus station, and Pariyan is already accepted as an equal in the law school, what will drive the rest of the story?

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