Maamannan Movie Rating: 6/10 ⭐⭐⭐⭐⭐⭐
Maamannan Movie Synopsis: An MLA and his son, coming from an oppressed community, are forced to face a privileged, arrogant descendant of a late politician who is determined to make them bow before him.
Maamannan Film Review: Mari Selvaraj Maamannan opens with shots that intersect two violent incidents. One of them concerns Rathnavelu (Fahadh Faasil), the descendant of a late politician (Azhagamperumal) of a ruling caste, who throws away his prized dog, which has lost its breed. On the other hand, we get Adiveera (Udhayanidhi Stalin), a martial arts trainer and son of a suppressed caste MLA Maamannan (Vadivelu), who starts a fight between two of his students. With them, the director shows us the difference between violence against the defenseless and oppression. The latter is almost a repeat of the message the director conveyed in his previous film 'Karnani' - agitation is sometimes the only way to fight oppression. But Maamannan actually returns to the optimism seen in directorial debut Pariyerum Peruma. The film wants to show us that it is possible to create change by trusting our democratic arrangements. As in Karnan, the conflict initially starts on a smaller scale when the money-hungry brother of Rathnavelu (Sunil Reddy), who runs a group of educational institutions, leaves after a coaching session conducted by Leela (Keerthy Suresh) and her college friends. They used the premises of a martial arts school run by their college friend Adiveeran, who offered them a place. When the institute is ransacked, Adiveeran fights back, bringing Rathnavelu and Maamannan into the picture and becoming embroiled in a wider conflict over power, prestige and dominance. The first half of Maamann has everything we have come to expect from a Mari Selvaraj film - shocking scenes of oppression in the form of violence against defenseless men and animals, lingering guilt, a tender romantic song, an inhuman villain and defiant heroism, screams and whistles. The director does not let us in their effective presentation. The actors are also strong. Vadivelu never feels like the comedian we have seen all these years and he feels so close to life. When he pushes the scope of the story into a wider framework, the dramatic power of the film is diluted. The other side becomes a political power play between the oppressor, who wants to maintain the status quo, and the oppressed, who believe that a democratic victory will solve their (and their brothers') problems. But these parts lack intensity and even begin to go into the realm of social fantasy. An impressive character, Rathnavelu becomes as insecure about his position as the two men he seeks. Maamannan's pacifism begins to look more like political naivety, while Adiveeran's actions reflect that of a typical commercial movie hero. And Mari Selvaraj joins the list of filmmakers whose ambitions have taken them beyond the third film.
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