MAMANNAN – MOVIE REVIEW

Maamannan is a political thriller film written and directed by Mari Selvaraj, and produced by Udhayanidhi Stalin. This film is supposedly to be the last film in a temporary break that Udhayanidhi is taking from films.
Director Mari Selvaraj’s latest offering, disappointingly falls victim to the pitfalls of a one-sided narrative and a heavy-handed approach that ultimately hampers the overall viewing experience. While it is evident that Selvaraj is a member of a coterie in Tamil cinema with distinct beliefs and intentions, this film fails to strike a balance between serving a particular audience and delivering a compelling cinematic experience.

From the very beginning, MAMANNAN follows a linear narrative that lacks depth and fails to engage the audience. The monologue delivered by the film’s heir apparent, becomes a tiresome showcase of violence and bloodshed, leaving no room for relief or respite. The screenplay lacks creativity and relies heavily on predictable tropes, making the second half feel particularly tedious and banal. One of the film’s biggest drawbacks is its heavy-handed approach to casteism and propaganda. Instead of fostering dialogue and understanding, the one-sided commentary becomes insensitive and alienating. The lack of nuance and the film’s unwavering dedication to its particular logic make it a monotonous watch that fails to offer any fresh perspectives.

While the first half of the film manages to hold some interest, mainly due to a good interval block, it ultimately falls short as the content starts feeling repetitive. The second half, unfortunately, stumbles and fumbles towards a dull climax, failing to deliver a satisfying resolution or a thought-provoking conclusion. Despite its flaws, MAMANNAN does have a few brief moments in the first half that showcase Selvaraj’s directorial prowess and the potential for impactful storytelling. However, these moments are overshadowed by the film’s overall lack of balance and its failure to captivate the audience.

MAMANNAN may find an audience within a specific group, but its narrow-minded approach and inability to provide a more inclusive perspective prevents it from becoming a truly engaging cinematic experience.

Udhayanidhi delivers a weak performance. Faahad Faasil is very good as you would expect. Vadivelu is OK. Keerthy Suresh is good but has little to do.

Theni Eshwar’s cinematography is wonderful. ARR is average with his musical score. Selva’s editing is OK. Dialogues are uninspiring. Direction is standard.

MAMANNAN is a routine commercial caper riddled with forced beliefs !!
MAMANNAN – MANDHAM !!
2/5
B.U.Shreesha