The staging and the superb editing makes these sequences beautiful to behold (the film flows like silk), but there is very little emotional depth.
Then there is another enemy he, too, is easily disposed of. You have to introduce Dhruv Vikram in the interval block (he needs that grand entry), and so how do you fill up the time until then? Karthik Subbaraj gives us a series of similar situations: there is an enemy he is easily disposed of. They become the booze kings.īut the first half suffers from one major problem. They also become something like the Corleone family in The Godfather. When Simran finds out, she leaves him, taking their son with her–and Bobby and Sananth become his surrogate family. (These meetings play out a tad too coincidentally.) He drinks his weight in liquor. He meets his old friend, a bar owner played by Bobby Simha, whose son is Sananth. Imagine 40 years of repression bursting out like lava: that is what happens. When she goes on a trip on his 40th birthday, this Ambi unleashes his inner Remo.
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He can’t even see a Western movie because his wife (played by Simran) considers them full of vices. At first he is a Gandhian-his name is actually Gandhi-and every other line mentions the Mahatma. It shows Vikram becoming that liquor baron. The first half lies in that not great but not bad zone. At the end, we get a line about extremists, and you do wonder about people who “live and let live” and those who want to box you into their “well-meaning” philosophies.
And we are left wondering who is worse: the obvious liquor-making “sinner”, or the latter, who keeps hitting you over the head with his philosophies. It’s about the irony that another man from the same family becomes a psychopathic cop, hell-bent on revenge. It’s about the irony that a man from a Gandhian family becomes a liquor baron. Karthik Subbaraj’s Mahaan is about ironies.
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