‘Mammon’ Movie Review: Sori, Aishwarya Lakesmi Sholder is a flawed melodrama

Still ‘Maman’. Photo Credit: Special Arrangement

Should a family only have a column to support us, or can we ever see it as a social unit made of independent life? Does the marriage lead to family bond by design? If not, when does a relationship really feel like a family? Also, why should a couple relax on the ability to backward children? These are some questions that you can consider looking at Prasanth Pandiyaraja MamanSori and Aishwarya starring Lakesmi. Nevertheless, this family drama is so uneven and bears such retrograde undertakings that it makes many of these explorations useless – or ends with slanting.

At first glance, in the film, a style is mastered in all the ingredients of Tamil cinema – it is ‘Hai’Kudumba Padam‘Pivoting the story with a dozen characters within a joint family in the whole, Trichy. There are shortcomings in Maman The first half should not be discredited, where primary characters and their emotional landscapes are stunned, which leads to central conflict – a young boy Nilan (aka Laddus, played by the mast. Furthermore, almost.

Still ‘Maman’. Photo Credit: Special Arrangement

What’s attractive how we combine most of the members of this family with the main family role: Rajkaran Singrair aka Singam, but you will miss them ThahaDada and patriarchy; Sori Ke Inba and Baba Baskar’s Ravi have been defined what they do ma’am (Uncle); Geeta is Kailasam, you must have guessed, a mother. It extends to other female characters, such as Girija (Swasika, Sister of Inba and Nilan’s mother), Rekha and Pavun (Viji Chandrashekhar, as the wife of Singrair). Girija and lines are women who have to play many roles and please many interests, while you remember Pavun for sad reasons.

Some of these equations in the beginning-between INBA, Girija and Laddoo-We know that the film rides a high ride on sentimentality. But Maman It is also a great case study of how melodrama can be effective in some situations, and why it can change the craingy when this writing does not return well. A case for the East is a scene in which Rekha’s father (Jaya Prakash) shatter the INBA and the audience by offering a perspective on the central issue. Or a moment when INBA sees Laddus from a distance, but knows that he cannot be close. There is also a great view with Girija and her mother, which is trapped in a shocking position, which tells you a lot about these characters and their dynamics.

but then, Maman The discovery of motherhood in lovers also resonates the attraction of Tamil cinema with milk -giving feelings through melodramatic lines; Here, it is about searching for the father in newborns and husbands. It can work when it is used: When Sori called her unborn nephew as ‘Ana Peethare’, ‘who gave birth to me,’ You understand that he is receiving someone with his father’s loss, a love that will be a channel, but why is a child calling anyone later?

Trouble with Maman The interval begins immediately after the point, when the film is ready to make points that are either ancient or contradictions, such as a twist that you see while incorporating the singular. These are also parts where you understand retrograde ideas that underpins MamanSingrair speaks about how families work because of families, such as his wife Pavun, but we never see him doing anything other than cook for him; Even if it fulfills the objective of one later, why should Pavun be replaced in the background, just the wife of Singrair who rarely interacts with other characters unlike her husband? At another turn, a woman is slapped by a man, and the singrair reprimands her, because it is not right to do, rather because “the pride of a man rests not to put his hand on his woman.”

Suri and Aishwarya Still from Lectmi ‘Maman’. Photo Credit: Special Arrangement

If there is a character in this world who understands what he has to say, and stands for himself on a large scale, then it is the line, and Aishwarya Levsmi is as terrible as usual. Another film must have discovered all that Rekha has to bear in this family, but in a joking as a spectator member, that film would have been titled. AthaiUnlike Aishwarya, both INBA and Girija end up as unilateral characters, which oscillates between anger and frustration. But this is not to say anything about the performance, as the film is largely on the shoulders of competent actors (Bala Saravanan provides comic relief in Inba’s partner-in-crime).

MamanAt the end of the day, the southern Tamil Nadu makes a case for this sub-style of a dramas centered around a joint family. After all, a family is a subtle world of a society. If only that old bottle was filled with some fresh material, Maman More than a film can be remembered as something that cried to you and many times, felt it. In an early scene, as INBA married Rekha, Laddoo threw a tantrum, insisting that he should sit between the couple and he would bind the first napti thread. This is a demand that will not fly in most families. But what happens here, the kind of viewer who wants to appeal to Prasanth Pandiyraj can be a litmus test.

Maman is currently running in theaters