Critics Review


Fairly Engaging Political Drama!

The establishments are slow yet decently done with a terrific interval block that creates excitement for the latter. But the second half is middling, which eventually reduces the intensity and the emotional quotient as the film progresses.(more)

Source: Ashwin Ram, MovieCrow


An okayish, but hardly potent sociopolitical drama

It is when he pushes the scope of the narrative to a larger framework that the film's dramatic potency gets diluted. The second half becomes a political power game between an oppressor who wants the status quo to remain and the oppressed who believe democratic victory will solve their problems (and that of their brethren). But these portions lack intensity and even begin to move into realms of social fantasy. From being a character to be feared, Rathnavelu turns into someone who is as unsure about his standing as the two men he is after. Maamannan's pacifism starts looking like political naivet� while Adiveeran's actions begin to mirror that of a typical commercial film hero. And Mari Selvaraj joins the list of filmmakers whose ambitions got the better of them with their third film.(more)

Source: Suganth, Times Of India


Political correctness triumphs over story in Mari Selvaraj film

Maamannan has great performances by Vadivelu and Fahadh Faasil. To see Vadivelu acing a serious character who is calm and collected, is a break away from his comedy roles. Similarly, Fahadh Faasil, as an egoistic politician who takes pride in his caste, has wonderfully portrayed his character. Being Udhayanidhi Stalin's last film he has given it his all. His performance is moving and makes you root for his character. In other words, Maamannan is also a film that will help project him as the leader he wishes to be. Keerthy Suresh has an evocative role. However, her performance doesn't match up with the greatness on screen.(more)

Source: Janani, India Today


A well-meaning but rudimentary film from Mari Selvaraj

As far as the performances go, Vadivelu is effective as a performer in Maamannan. He is effortlessly convincing as a sombre and brooding politician, and not for a moment, we are reminded of all his iconic comedy roles. Unfortunately, even his performance doesn�t make up for the tiring screenplay. The issue with Maamannan is not that something is wrong. The problem is the lack of something� something substantial.(more)

Source: Kirubhakar Purushothaman, Indian Express


Vadivelu and Fahadh Faasil's impeccable performances save Mari Selvaraj's weakest, politically-charged film

Maamannan certainly has its heart in the right place and touches upon several important topics like reserved constituencies. While there are scenes that one would love to see in Mari�s films, they are scarce and far between. On the whole, Maamannan is an underwhelming political drama that�s saved by its lead cast�s brilliant performances. But who cares about an imperfect ruler when the kingdom is ruled well?(more)



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

Even Maamannan�s win at the elections doesn�t give us a high. But I was tremendously moved by the fact that his wife is still terrified. She does not yet have the guts that her son already had and her husband has newly acquired. Change doesn�t come in a day. I love how Mari makes sure things are never one-sided. There are oppressed-caste people who resent the fact that an MLA's son rears pigs, and later, some of them take bribes to vote for the dominant-caste candidate. On the other hand, we have Leela, who belongs to a dominant caste ("sondhakaara ponnu," says Rathnavelu) and yet fights with Athiveeran for the oppressed. (more)

Source: Galatta,