Maareesan movie review: Fahadh Faasil steals the show in this beautiful tale of two halves, woven together but divided

Fahadh Faasil in Maareesan.

Maareesan starring Fahadh Faasil takes what is arguably the most audacious—and regrettably, one of the most startling—turns in a year when Tamil cinema has boldly experimented with genre fusions.

Around the halfway point, the movie makes a turn so abrupt that it could cause cinematic whiplash.

Unexpectedly, what starts as a heartfelt, emotionally charged road drama involving an Alzheimer's patient and a small-time criminal turns into a sinister crime thriller that tracks down sexual offenders. Although genre changes are not new, Maareesan finds it difficult to balance the two stories in one frame, which leaves viewers confused and emotionally estranged.

Plot and overview

Maareesan's heart lies in its first half, and it's a powerful one. Dhayalan, played by the always subtle Fahadh Faasil, and Velayudham Pillai, played by Vadivelu in one of his best non-comedic roles to date, are at the centre. The film is surprisingly tenderly anchored by the chemistry between the two.
Vadivelu, who has long been praised for his comic prowess, reveals a depth that is seldom seen. Vadivelu is unrecognisable in scenes where Velayudham struggles with his deteriorating memory and silent regrets—not in disguise, but in reality.

Fahadh, on the other hand, fights the urge to play the part of a "lovable trickster." His subtle performance provides a subtle counterpoint, enabling his character to develop organically alongside Vadivelu's Velayudham. Their road trip, full of unintentional wisdom, silent moments, and gentle healing, has a poetic beauty.

Analysis and performances:

However, the movie takes you by surprise just as it gains your emotional commitment. Dhayalan takes revenge and targets a network of sexual predators in the second half, which shifts into a gripping vigilante thriller. The change in tone is neither earned nor seamless.

The actions of the characters you became attached to in the first half seem strangely rewritten, driven more by the convenience of the plot than by emotional coherence.

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There is some merit to this crime arc; it could have been a good thriller on its own. It addresses the topic honestly and stays away from exploitative imagery. However, it feels like a different movie that has been patched in without any consideration for coherence when compared to the reflective warmth of the first half.

The change is so dramatic that it's like witnessing a beautiful cursive script abruptly deteriorate into crayon scribbles in the middle of a sentence.

The lingering feeling of what Maareesan might have been is even more painful. There are brilliant moments, particularly when Velayudham waxes philosophical about identity, memory, and living in the present.

These observations provide a moving prism through which the whole movie might have developed if it had opted to put its characters before genre conventions.

None of the revenge-driven scenes lasts as long as the scene where Velayudham responds that Alzheimer's has taught him to live in the present, and Dhayalan reflects that forgetting might be a blessing. Beneath an unnecessary digression into melodramatic justice, this is where Maareesan's true essence is hidden.

Verdict

In the movie Maareesan, two interesting stories—both realistic and emotionally complex—are compelled to come together awkwardly. It's a cinematic chimaera that ultimately demonstrates the significance of narrative trust and tonal consistency in storytelling. The movie might have become a contemporary classic if it had only followed Velayudham and Dhayalan on their path of self-discovery and silent atonement.

Rather, Maareesan serves as a case study of what occurs when narrative loses focus in the pursuit of dramatic peaks and when screenplay structure takes precedence over emotional logic. It chose a shortcut that leads nowhere instead of the honest, patient, and winding route that it ought to have taken.

Director: Sudheesh Sankar

Cast: Vadivelu, Fahadh Faasil, Kovai Sarala, Vivek Prasanna

Rating: 3/5