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Mahaan begins with a lazy prologue — a shot of Gandhi Mahaan (Vikram) pouring fuel on his automobile and passionately setting it on fire — as does practically every Tamil film that takes itself seriously today. While the film cuts back to his past, he sits there bemoaning his deeds.

Gandhi Mahaan is forty years old, a schoolteacher, a loser, and a secret moviegoer in the flashback. We’re supposed to be perplexed as to how such a straight-arrow of a man could set fire to his automobile in the middle of nowhere (the answer was already in the trailer, by the way).

He experiences a midlife crisis on his birthday after a stoned nobody tells him he can’t possibly live his life the way he desires. So, when his wife leaves for a trip the next day, Gandhi Mahaan goes insane. He’s completely insane.

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Mahaan is an upcoming Indian Tamil-language action thriller film written and directed by Karthik Subbaraj. This movie is said to be a ‘modern-day’ take on the genre where the protagonist’s story will unfold through flashback sequences. It is set to release in 2022, so make sure to keep an eye out for it!

India is set to have its first-ever blockbuster in 2022. Mahaan is Tamil film’s equivalent of Steven Spielberg’s Ready Player One. Karthik Subbaraj, who is a well-known filmmaker in the Tamil film industry, is coming up with a new film in 2022.

Mahaan by Karthik Subbaraj tells the story of a regimented and hen-pecked teacher who becomes a booze baron and criminal who is brought down by his own acts. But, dear reader, please understand that this is just speculation on my part, as Mahaan is so incoherent and boring that I can only imagine what it’s about.

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Its main issue is that there are too many concepts. There are characters named Gandhi Mahaan, Dadabhai Naoroji (Dhruv Vikram), Sathyavan (Simha), Nachi (Simran), and others who promote ‘freedom-fighting’ and ‘prohibitionist’ views. The film harps on this nonstop, without delving into it further. The core conflict – drunkenness — is portrayed so superficially that the froth on your beer gets thicker.

Then there’s Karthik Subbaraj’s gambling metaphor, in which he intercuts timelines with the faces of playing cards, which then vanish sometime along the route. Making mistakes, living a true life, loyalty, parenting, retribution, bravery, belief, god, criminal ethics, fanaticism, manipulating people’s emotions — the ideas keep coming, but none of them amount to anything substantial. None of them actually support or undergird the film.

There’s also the outfit design to consider. Mahaan, who is forty years old, is shown to solely own white clothes. He wears a garish multi-colored shirt on the day he goes insane. He is dressed in black on the day he sees his son, while the latter is dressed in white. This is switched in the climax. We never have an opportunity to feel what it’s supposed to mean, so there’s obviously some semantics there.

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Mahaan feels like a drunken discussion with a friend’s buddy, where you don’t really care for them but listen regardless since you’re doing someone a favor (in this case, my career as a film critic).

More importantly, Karthik Subbaraj is undecided about whether or not he respects the audience. It appears that the cops are arranging an accident to cover up an encounter at one point. They leave beer bottles behind and slam a bike into a rock. However, a few seconds later, one of them fires a single shot at the suspect. If you’re going to leave a bullet in the man’s chest, why bother with the staging?

On the other hand, he can’t stop himself from explaining what he thinks are high-concept notions. Gandhi Mahaan saves Sathyavan and his son Rocky from an attack in a scenario. He is standing on top of an automobile, with the Holy Cross behind him. Karthik Subbaraj can’t stop himself from elaborating on what this means to us. He speaks for Sathyavan, referring to him as a guardian angel, a Jesus reincarnates if you will.

Gandhi Mahaan literally speaks aloud the quote that was flashed at the opening of the film in the film’s climax. This constant spoon-feeding is not only annoying, but it also hurts Mahaan; if Karthik Subbaraj had left more to the audience’s imagination, Mahaan would have been a far better picture.

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The writing is often a little foggy. There is no emotional involvement in any of the characters (please ping me if you’re a forty-year-old having a mid-life crisis and can relate to the film!). Everyone is out of it, especially Nachi, who is losing her mind in her own unique way.

Dada is crazy, played by Dhruv, who is clearly trying too hard, but the reasons for his obsession are thin. Sathyavan, a pivotal figure in the story, is barely introduced. He’s always around; we just don’t recognize him. Rocky, his son, goes through marriage, romance, and divorce over the phone – why?

The ostensibly big scenes are disappointing. Take, for example, the scene in which Dada finally sees his father at a religious festival, or the scene shortly before the finale, when Sathyavan confronts Gandhi Mahaan about his son’s murder. The performances are extravagant, the dialogues are dull, and the impact is mediocre.

There are useful parallels with a single occurrence from their youth, which has been milked far too much for anyone’s artistic comfort. The twists are absurd and can be seen from a mile away. They scarcely make a dent when they aren’t.

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