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Maaman Review: Prashanth Pandiyaraj and Soori`s Film Fails to Hit The Mark
Updated on: 17 May, 2025 09:00 AM IST |Amruta Karulkar
Maaman Review
Family dramas often provide fertile ground for compelling storytelling, brimming with conflict, intricate plots, and emotional depth. However, they can easily falter if the script doesn`t handle these elements with care. Director Prasanth Pandiyaraj’s ‘Maaman’, starring Soori, Aishwarya Lekshmi, and Swasika, unfortunately, falls into this category. The film attempts to explore the poignant relationship between a doting uncle and his nephew but ultimately stumbles.
This intense bond between uncle and nephew becomes a significant point of contention when Inba marries Rekha (Aishwarya Lekshmi), a gynaecologist. Laddu`s constant need for his `mama` and his ensuing tantrums encroach upon Rekha`s desire for personal space with her husband, setting the stage for prolonged familial conflicts.
Also Read: Ravi Mohan Issues a Four Page Statement Accusing Wife Aarti of Marital Abuse
Soori, who also penned the film, alongside director Prasanth Pandiyaraj of "Vilangu" series fame, seems to steer the narrative towards an era where women`s roles were largely confined and their needs overlooked. While the film sets up nice conflicts, it often gets subverted due to skewed ideas about family. The initial comedic antics of Inba and Laddu offer some laughs but soon become repetitive.
The film touches upon potentially rich themes – the brother-sister dynamic, the uncle-nephew relationship, and a man`s relationship with a vocal wife – but often ends up taking (or rather glorifying) the wrong side. Aishwarya Lekshmi’s Rekha emerges as one of the sanest voices in ‘Maaman’, consistently advocating for her space, yet she is often ignored and even vilified. Similarly, the arc of Laddu’s father, unable to fulfil his paternal duties due to Inba’s overwhelming presence, remains underexplored. The melodrama, a staple of family dramas, feels overstretched and lifeless here.
Also Read: DD Next Level Review
However, the film`s core message is problematic. It appears to endorse outdated patriarchal norms, where women are relegated to caregiving roles and their opinions dismissed. Rekha, a medical professional, is ridiculed by those with less education, and suggestions for professional counselling for Laddu are met with ignorance.
Hesham Abdul Wahab makes his Tamil debut as music director, but the songs are largely forgettable. Ultimately, ‘Maaman’ is an underwhelming family drama that relies too heavily on sentiment while promoting regressive ideas, making it a disappointing watch for those seeking a more progressive take on family dynamics.
Also Read: Gangers on OTT: Sundar C and Vadivelu`s Comedy Streaming Now on Amazon Prime
A Tale of Overpowering Affection
The story introduces us to Inba (Soori), a man who is seemingly perfect husband material, deeply respectful of the women in his life, including his sister Girija (Swasika) and mother (Geetha Kailasam). Girija, after enduring societal pressure for being childless for a decade, finally becomes pregnant with Nilan, affectionately known as Laddu (Prageeth Sivan). Inba’s involvement in Laddu’s upbringing is so profound that it overshadows the role of Laddu’s actual father (Baba Baskar).This intense bond between uncle and nephew becomes a significant point of contention when Inba marries Rekha (Aishwarya Lekshmi), a gynaecologist. Laddu`s constant need for his `mama` and his ensuing tantrums encroach upon Rekha`s desire for personal space with her husband, setting the stage for prolonged familial conflicts.
Also Read: Ravi Mohan Issues a Four Page Statement Accusing Wife Aarti of Marital Abuse
Soori, who also penned the film, alongside director Prasanth Pandiyaraj of "Vilangu" series fame, seems to steer the narrative towards an era where women`s roles were largely confined and their needs overlooked. While the film sets up nice conflicts, it often gets subverted due to skewed ideas about family. The initial comedic antics of Inba and Laddu offer some laughs but soon become repetitive.
The film touches upon potentially rich themes – the brother-sister dynamic, the uncle-nephew relationship, and a man`s relationship with a vocal wife – but often ends up taking (or rather glorifying) the wrong side. Aishwarya Lekshmi’s Rekha emerges as one of the sanest voices in ‘Maaman’, consistently advocating for her space, yet she is often ignored and even vilified. Similarly, the arc of Laddu’s father, unable to fulfil his paternal duties due to Inba’s overwhelming presence, remains underexplored. The melodrama, a staple of family dramas, feels overstretched and lifeless here.
Also Read: DD Next Level Review
Performances Shine, but the Message Falters
Despite the script`s shortcomings, the performances are noteworthy. The nuanced performances by Soori, Swasika, Aishwarya Lekshmi and Prageeth draw viewers into the story, yet ironically lead audiences to sympathise with perspectives that contradict the film`s intended message. Soori, in particular, continues to prove his mettle as a versatile actor, moving beyond his comedic image. Rajkiran and Viji Chandrasekhar, as a bickering elderly couple, also add a layer to the narrative.However, the film`s core message is problematic. It appears to endorse outdated patriarchal norms, where women are relegated to caregiving roles and their opinions dismissed. Rekha, a medical professional, is ridiculed by those with less education, and suggestions for professional counselling for Laddu are met with ignorance.
Hesham Abdul Wahab makes his Tamil debut as music director, but the songs are largely forgettable. Ultimately, ‘Maaman’ is an underwhelming family drama that relies too heavily on sentiment while promoting regressive ideas, making it a disappointing watch for those seeking a more progressive take on family dynamics.
Also Read: Gangers on OTT: Sundar C and Vadivelu`s Comedy Streaming Now on Amazon Prime
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