In Tamil cinema, genre blends are not uncommon, but few films execute the transition as abruptly as Maareesan. Directed by Sudheesh Sankar and written by V. Krishna Moorthy, the film is a curious hybrid: one-half an introspective road journey between two damaged souls, and the other a blunt-edged crime thriller with vigilante overtones. It’s a cinematic shape-shifter—an ambitious idea that both intrigues and frustrates.
The Setup: A Journey of Contrasts
Maareesan opens with a deceptively simple premise. Dhayalan (Fahadh Faasil), a petty thief freshly out of prison, breaks into what seems like an easy target: the house of Velayudham Pillai (Vadivelu), an elderly man suffering from Alzheimer’s. But instead of a heist, Dhayalan stumbles into a human connection he didn’t expect. Mistaken for Velayudham’s son, he plays along in hopes of accessing the old man’s sizable bank account.
The duo embarks on a road trip across Tamil Nadu — a leisurely, lyrical stretch of the film where conversations, memories, and moments take precedence over plot. It’s here that Maareesan truly blossoms, evoking the quiet melancholy of films like Thondimuthalum Driksakshiyum and Peranbu. Vadivelu, in particular, delivers one of the most nuanced performances of his career — vulnerable, moving, and utterly devoid of the comedic baggage he’s long carried.
The Turning Point: A Genre Swap
Just when the film builds trust with its audience, it takes a sharp, unannounced turn into vigilante territory. The revelation: Velayudham is not merely a confused old man but a man on a mission, seeking vengeance against a network of sex offenders. Suddenly, Maareesan becomes a crime thriller — cold, calculated, and morally black-and-white.
The tonal whiplash is palpable. The introspective road trip narrative is cast aside for a plot that now hinges on moral absolutism and stylized justice. The subtleties that made the first half emotionally rich are now drowned in expository flashbacks and convenient twists.
While this shift may alienate some viewers, it’s not without merit. Fahadh Faasil continues to excel, navigating Dhayalan’s transformation with quiet restraint. His character, initially driven by greed, begins to see purpose — perhaps even redemption — in Velayudham’s morally grey crusade.
Vadivelu’s Renaissance
Vadivelu’s performance is the film’s biggest asset. Having redefined himself in Maamannan, he continues the streak here with astonishing grace. As Velayudham, he’s broken, confused, yet determined. In several scenes, he dissolves into raw emotion — not as a character, but as a man slowly losing himself. One particularly touching moment has him reflect: “My memories are leaving me… but now I only live in the present. Maybe that’s not a curse.”
His portrayal deserves recognition for transcending the comic archetype he has long embodied. This is Vadivelu as we’ve never seen him before — and hopefully not the last time we see him this way.
What Works and What Doesn’t
Maareesan thrives on the strength of its lead performances, with Vadivelu and Fahadh Faasil forming an unlikely yet compelling pair whose chemistry anchors the emotional core of the film. The first half offers striking emotional depth, filled with poignant reflections on memory, aging, and identity. Its unusual structure — attempting to blend a philosophical road drama with a vigilante thriller — shows ambition, even if imperfectly executed. The film also handles difficult subject matter with visual sensitivity, choosing to avoid graphic depictions of sexual violence while still confronting the underlying trauma with sincerity.
However, the film falters in its second half, which feels tonally disjointed — almost like an entirely different film grafted onto the first. The narrative becomes increasingly predictable, relying on well-worn thriller tropes and twists that lack surprise. Supporting characters, such as the one played by Kovai Sarala, are underdeveloped and serve more as narrative devices than fully realized individuals. Moreover, the film simplifies morally complex issues, reducing them to black-and-white terms, which undercuts the nuanced philosophical groundwork laid earlier.
Final Verdict
Maareesan is ultimately a film of two halves — one soulful and stirring, the other sensational and simplistic. There’s a much better movie hiding underneath the surface — one that might’ve been content to just let two flawed men wander, talk, and grow.
Instead, the filmmakers push for something more dramatic, more commercial, and in the process, compromise on the thematic richness that the first half promised. That said, this is still a brave and novel film in its own right — daring in structure, if not always successful in execution.
It’s not for everyone. Some might walk away disappointed by its tonal shifts. Others may find beauty in the chaos. Either way, Maareesan deserves credit for trying to swim in deeper waters — even if it occasionally loses its way.
CINEMA SPICE MOVIE RATING: ★★★☆☆ (3/5)
