Mari Selvaraj’s sharp take on caste and politics

Maamannan

Tamil (Theatres)

Director: Mari Selvaraj

Cast: Vadivelu, Fahadh Faasil, Udhayanidhi Stalin, Keerthy Suresh

Rating: 3/5

Mari Selvaraj’s first film ‘Periyerum Perumal’ (2018) explored caste discrimination faced by a Dalit college student. ‘Karnan’ (2021) went back in time to show how Dalits were treated when they first opened up to education. His latest, ‘Maamannan,’ is about caste conflict and electoral politics.
The eponymous character Maamannan is a small-time leader in Kasipuram constituency, Salem district. He grows up to be an MLA after the constituency is reserved for his community. He has compromised with Savarna leaders in a case where three Dalit children are stoned to death for swimming in a tank.

Athiveeran (Udayanidhi Stalin), son of Maamannan, is unable to come to terms with his father’s act. The trauma haunts him for 15 years. But when he comes to know that Maamannan, an MLA for two terms, is still ill-treated and not offered a seat when he meets second generation feudal politician Ratnavelu (Fahad Faasil), a window opens for them to fight a battle of honour together.

The writing is brilliant but the resolution is flat and does not seem well thought through. A Dalit MLA living in remorse, a son grappling with his father’s actions, and feudal lords who believe a Dalit can win only with their support—all these are captured well. Since it is hinted that both Ratnavelu and Mamannan belong to the DMK, reform within the party gets importance, and the caste resistance takes a back seat. In Mari’s earlier films, the resistance was strongly linked to the community.

Many flaws are evident. For example, the film fails to establish its period. Though the presence of smartphones hints at a post-2010 setting, the absence of visual media makes it feel like a story from the ‘90’s. As a feudal politician, Fahad Faasil steals the show. Mari had spoken about how Vadivelu was caricatured in ‘Thevar Magan’, and so expectations were high about the characterisation of ‘Maamannan’. Vadivelu doesn’t disappoint but Udayanidhi Stalin’s performance is uninspiring and the biggest drawback of the film. And Mari again fails to create a strong female character.

In ‘Pariyerum Perumal’, Mari portrayed a dog called Karuppi as another member of the oppressed community. In ‘Maamannan’, he uses hunting dogs to represent feudalism. They kill pigs reared by Athiveeran. In the end Ratnavelu sits around despairing as his dogs run amok. He kills some of them. Is he killing the violent feudalism within himself, or asserting his feudal authority yet again? Despite all its flaws, ‘Maamannan’ is an important chronicle of the realities of our time.