About of the movie Maaran
With absolutely no shade or character development, the film’s sequences are so bland that even Dhanush’s presence cannot. Karthick places two strong actors, Ameer and Dhanush, in a scene yet fails to generate any kind of impact. How is it possible?
Karthick Naren’s documentary Maaran appears to have been made without any real understanding of the business of journalism. This is a textbook case of an armchair analyst making judgments on a real problem while lacking any actual-world expertise. It would be naive to think that editors at news publications deliberate in meetings and plump for celebrity love affairs above fact-based journalism and issues that affect the general public. It’s also unlikely that a genuine journalist would be rewarded with cover-page stories from rival publications or TV news stations lavish praises on the competition. The only thing lacking is a unicorn spouting rainbows in this fairytale.
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Maaran Movie Review
Karthick Naren’s mission to regain the touch that branded his debut Dhuruvangal Pathinaaru, as Maaran continues. While Naragasooran, Karthick Naren’s sophomore effort, is still waiting to be released (due to no fault of his), Mafia: Chapter 1 was flashy but ultimately unimpressive. With Project Agni, the mindbending short that was part of the anthology Navarasa, he showed signs of rediscovering his form. And Maaran is perhaps Karthick Naren’s worst work yet; even his filmmaking style can’t help him here. And there’s more bad writing on top of it all.
Mathimaaran (Dhanush, in a rare serious performance), a crime reporter who aspires to speak the truth to power, followed in his father’s footsteps and was murdered after making an exposé. He is only concerned about telling the reality. With the aid of his policeman buddy Arjun (KK, effective), he exposes a fraud involving phony EVMs being prepared by former minister Pazhani (Samuthirakani, trying to make the most out of a red herring of a role), who is attempting to reclaim his political legacy. But, as Shwetha (Smruthi Venkat, the only one that appears to be genuine) reminds him, Maaran has neglected to consider his sister’s safety.
Maaran is the third Tamil film in three weeks to attempt to marry a pure genre concept with a “family-friendly” subplot. We saw frenetic action fighting for room alongside motherly sentiments in Valimai (which was released on video this week). In Etharkkum Thunindhavan (this week’s theatrical release), the serious issue of hidden cam videos was crowded out by lighthearted sequences featuring the hero’s family. Now, in Maaran, there is a melding of a whodunit with the thangachi feeling. And based on the outcomes of all three movies, it’s apparent that such mixing attempts aren’t working; one of these components drowns out the other, resulting in bad results.
Fortunately, like in Anna, the brother-sister relationship is more postmodern than melodramatic. The director undertakes to keep drama to a minimum, but we see Maaran and Shwetha bonding. However, the crime angle has little substance. Because of how clumsily Maaran’s job journalism is represented, part of the problem is there.
The structural elements of the plot, on the other hand, start to feel too simple for a Karthick Naren film after only 30 minutes or so. We get a feeling that something’s up – and it is! But it doesn’t have much of an impact since the movie never allows us to become immersed in its world. The world-building is very poor, as well as one-dimensional characterization. All we receive is a narrow narrative that goes from A to B without engaging us emotionally. And this austerity of storytelling does not appear to be intentional. It appears, rather, as if the team is attempting to turn any additional footage into a film in order to make a movie out of it.
Sharfu, Suhas, Vivek
Dhanush, Malavika Mohanan, Samuthirakani, Smruthi Venkat, Aadukalam Naren