Maamannan Review: Vadivelu's fantastic range just about holds together well-intended mediocrity

Like a politician caught in a scandalous misstep, Mari Selvaraj's latest political thriller attempts to deliver a powerful message, but ends up stumbling in its execution. While the core story of the film holds promise, it's surrounded by a cloud of mediocrity that dampens its impact.

Maamannan, the latest political thriller by renowned director Mari Selvaraj, presents a captivating premise but fumbles while fully realising its potential. Set in Tamil Nadu, the film follows the journey of Maamannan, an MLA from an oppressed community who rises from a party cadre in Salem.

A veteran of Tamil cinema, Vadivelu, known for his comedic prowess, steps into a sombre role as Maamannan, proving that even the funniest jester can wear a serious political hat. His transformative efforts breathe life into the personal and political dilemmas that his character has been plagued with and has successfully captivated the attention of fans over the film’s opening weekend.

Unfortunately, his outstanding performance alone isn’t enough to salvage the film from its well-intended but lacklustre screenplay, which feels as exciting as a never-ending campaign speech. Of course, that wasn’t nearly enough to stop the house full of fans from erupting in thunderous applause every time the legendary Tamil actor shows up on screen. 

The film introduces a compelling conflict between Maamannan and his son, Adhiveeran, played by Udhayanidhi Stalin. Adhiveeran, a practitioner of Adimurai, carries emotional and physical scars from a past casteist attack. 

Their strained relationship adds depth to the narrative, but unfortunately, the initial setup feels somewhat rushed and a dragged second act lacked necessary emotional nuances, aching to be better fleshed out. It's a missed opportunity, leaving us yearning for more substance and less political posturing.

Despite Fahadh Faasil's stellar performance as Rathnavelu - the district secretary from the dominant community and a member of the same party as Maamannan - the lack of consequences for his actions and the generic writing diminish the impact of his character. We've seen this power-hungry archetype before, and sadly, it fails to bring anything fresh to the table.

The crude symbolism surrounding Rathnavelu's hunting dogs and Athiveeran's love for pigs permeates nearly every frame of the film and even manifests itself in the sound design as audio cues for characters, but lacks the finesse needed to strike a chord with the audience. 

As a favourite tool in Selvaraj's kit, visual motifs feature abundantly in the film, but feel as subtle as the titular MLA leading his campaign’s blaring procession through the streets. Perhaps a more nuanced approach at addressing caste politics and societal stigma, rather than forcing the odd Che Guevara merchandise, could have made the narrative more thought-provoking and impactful.

On the bright side, Maamannan does offer a glimpse into the intricate web of Tamil Nadu politics. The film tackles the flaws within Maamannan's supposedly socially just party, exposing the role of caste in electoral battles.

This cross-sectional view of the political landscape, where caste is intrinsically embedded in the fabric of the state’s leadership, makes Selvaraj’s portrayal of Tamil Nadu politics commendable, if nothing else. It's an intriguing exploration, akin to witnessing a political dance-off where the steps are well-choreographed, but the music lacks a catchy beat.

Despite commendable performance and the film's exploration of political intricacies, Maamannan falls short due to its rushed setup and underdeveloped characters. Even Vadivelu’s serenading grace cannot overshadow the film's shortcomings, leaving us with a yearning for more substance, wit, and a sharper political edge.

Like a politician promising grandiosities, Maamannan had the potential to be a political thriller heavyweight, but settles instead for lukewarm compromises. Selvaraj's vision shines through at times, but the film lacks the substance that could have elevated it to greater heights.

Whether or not it was a series of planned creative decisions to cater to a wider audience while maintaining the film’s didactic value, its execution leaves something to be desired. In a year ripe with propaganda cinema however, we need more Maamannans as refreshing and relevant alternatives to whatever bigoted rubbish that’s surely around the corner.

We're going with 3 out of 5 stars for Maamannan.

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