Maamannan “Could have been so much better with an alternate lead and a tighter, more engaging narrative,” sighs a disappointed Divya Nair.

Pariyerum Perumal. Peranbu. Karnan. Mari Selvaraj is known to have directed some truly heartbreaking socio-political dramas with simple yet powerful stories and inspirational metaphors.

His latest Tamil film Maamannanstarring Udhayanidhi Stalin, Vadivelu, Fahadh Faasil and Keerthy Suresh, hits theaters on Friday.

In Mumbai I had trouble booking a ticket on Sunday as there was only one show and it was almost full. And why not? The excitement of watching Mari direct FaFa is justified.

In his own production, Udhayanidhi plays Stalin Athiveeran, the son of an MLA who teaches Adimurai, a traditional martial art. He also rescues pigs and takes care of them at a farm near his home. We are told that it has been 15 years since he spoke to his father Maamannan (Vadivelu) even though they live under the same roof.

Maamannan works with Rathnavel (Fahadh Faasil), an arrogant entrepreneur and politician who enjoys running dog races for money.

When Athiveeran’s classmate Leela (Keerthy) and her friends ask him for help setting up a free coaching institute, he offers to let them train at his academy. Soon, Leela’s institute is attacked by mobs from a rival coaching institute run by Rathnavel’s older brother, Shanmugavel. Adiveeran and his friends retaliate by damaging Shanmugavel’s institute. That annoys Rathnavel.

Knowing that Athiveeran is Maamannan’s son, he calls father and son to a truce meeting.

Athiveeran notices Rathnavel’s abuse of his father (Azhagam Perumal) and realizes how helpless his own father was.

One thing leads to another and soon Rathnavel and Maamannan face off to fight in the elections and prove their supremacy.

While Rathnavel and company use ruthless means to destroy Maamannan and his team, Athiveeran and Maamananan rekindle their father-son bond and unite to fight for justice for the less fortunate, those ruled by the upper caste Rathnavel and his father was wronged.

The plot is interesting but not captivating enough.

By the time you reach break, you’re feeling so tired you want to grab a coffee to stay awake.

And the reason for this tired feeling is Udayanidhi Stalin. He’s such a bad choice for the lead that you can tell his sketches of flying pigs and dogs are more vivid than all of his emotions combined.

As a young boy who lost his friends and was robbed of justice after they decided to bathe in a temple pond, there is no expression of fear, anger or revenge.

In fact, in one of the dance sequences where Leela offers to hug him, it took me a while to realize that she’s probably doing it to comfort him. Because this leading man’s face tells us absolutely nothing about what he’s thinking, feeling or what he’s planning to do next.

So what keeps us going? Fahadh Faasil, the ruthless poster child of all things evil, grinning from ear to ear and stoking a melting pot of emotions.

Watching him leave the room in a fresh white shirt with bloodstains on his face, fresh from his latest crime of passion, his eyes show no remorse.

In stark contrast, we have Vadivelu, who plays a role filled with patience, fatherly feelings, and compassion.

These two actors are supporting Mari’s film and keeping it alive for a while.

As in all his previous films, there are numerous scenes of assault and violence.

Of particular note is the flashback in which some boys are stoned to death. The subtle images of upper caste men dominating the helpless boys and trying to overthrow them will break your heart. Then you notice one of the boys climbing to the surface – bleeding but not ready to stop, almost like a picture of hope and light in the dark.

It’s a scene to remember.

Mari uses the image of white and black alike to convey an important metaphor of inequality.

When Maamannan Sundaram pleads for justice, he is wearing a black shirt.

As soon as he comes to power, he dresses in white and even offers his visitors, young and old, women and men, to remain seated while he talks to him. However, he is reluctant to take a seat in front of Rathnavel or his father, as it is an unspoken law of oppression and hypocrisy in society.

Although Vadivelu mentions how he was addressed as “Mannu‘ (meaning mud/earth), a reference to subtle bullying, and how his son inspired him to fight for his dignity lacks impact.

Among the supporting cast, Keerthy Suresh looks stunning as the fearless Leela, breathing life into her scenes by demonstrating energy and restraint where needed.

The script and cinematography are impressive.

As Mari delves back into caste oppression, the execution somehow lacks the finesse and empathy he’s explored in his earlier projects.

Maamannan could have been so much better with an alternate lead and a more exciting, engaging story.

Maamannan Review Rediff Rating: