If I were to tell you about Maamannan in one line, it would be, "What an elder sees sitting; the young can't see standing", the lines of popular French novelist Gustave Flaubert.
Right from the start, we hear the echoes of Vadivelu and the tone is set. With Mari Selvaraj, you know you're in for a minimalistic yet gripping realism which may "haunt" you for a long time. The sad reality of the downtrodden living in the Indian villages of the near past is shown not in a hard-hitting, but rather in a poetic and toned-down manner which increases the impact on the audience.
Cutting to the contemporary period, Vadivelu (Maamannan) is an MLA (Member of the Legislative Assembly) in a reserved constituency (reserved for the Scheduled Castes and Scheduled Tribes in Tamil Nadu). However, Fahad Fassil (Rathnavel) from the dominant community, whose father was the MLA when Maamannan's community was discriminated against, still believes that it is due to the dominant community and his support that Maamannan is the MLA.
While Maamannan treats everyone as an equal and tells everyone to "sit" while talking to him, in front of his "master", Rathnavel, so to speak, he hesitates to sit even when Udhayanidhi (Athiveeran) urges him to sit while confronting Rathnavel, the makes up for one of the best pre-interval sequences I've seen in a long time, this one scene is worth all your penny.
A grounded Athiveeran throughout the film suddenly rages out when injustice is done to his father (although given a seemingly equal treatment by Rathnavel), only because of the caste he belonged to. Udhay was stellar in that sequence, you really feel his anger and it is absolutely justified even if a house had burnt down for that (just an analogy).
A gripping and exhilarating first half slows down after the third act when an election comes into the picture as the audience can easily predict the film's ending. The other drawback for me was that the character Rathnavel played by Fahad Fassil did not have much of a grey shade. He is pretty much an outright villain in the film. I would have loved to see more of his personal relationship as she was also involved in the election and played an important role in curtailing Rathnavel's "rage to kill" in the pre-interval scene. These aspects would probably have made Maamannan one of the greatest in Tamil cinema, it just fell short of it.
Mari Selvaraj is a master when it comes to using animals as metaphors. In this, pigs were used to resemble the downtrodden, as pigs are generally considered the lowest in the animal kingdom due to their habit of rumbling dirt and mud, just like how Maamannan was called Mannu (dirt), Athiveeran loves the pigs as rears them, sets them free and loves them as his own. There is also a scene where he draws a painting of a pig with wings citing that it was his first dream when he was a child, denoting that this pig (Athiveeran) is not a pig sitting in the dirt, but is already flying high above. There is another scene involving dogs where Rathnavel intimidates the other dogs with his gun by killing a few, but the other dogs still run past without fear, denoting that the oppressor is no longer feared nor has power.
AR Rahman has delivered a wild album and all the songs gel well within the context of the film. I loved Raasa Kannu and Vadivelu's voice still stays as the impact of his character is enormous. A perfect album is truly an understatement.
The ending was satisfying, as everyone sits down after Mammannan does. This movie definitely teaches us something, when to sit, where to sit, when to stand and how to stand.
11 out of 13 found this helpful.
Was this review helpful? Sign in to vote.
Permalink
Tell Your Friends