Mahaan Movie Download in Tamilrockers 480p 1080p: Mahaan begins with a prologue, set in 1968, and involving three boys who are part of a card game having a falling out.
Years roll by. In 1996, we see one of them, Gandhi Mahaan (Vikram) leading an unfulfilled life in which he is compelled to follow Gandhian values by his family, including wife Naachi (Simran), who are staunch followers of the Mahatma.
Having just turned 40, he accidentally meets Sathyavaan (Simha), his childhood friend, who is now running a bar. He decides to party the night away, but the next day, his wife walks out of his home (along with their son, Dada) after having found out the that he’s drunk.
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|Directed By:||Karthik Subbaraj|
|Release Date:||10 February 2022|
He teams up with Sathyavaan and helps him develop his liquor business. A few years later, they end up meeting the third friend from the prologue — Gnanam (Muthukumar ), who is now a politician, who helps them expand their business.
But just when things seem to be going very well, Gandhi’s past catches up in the form of his in the form of his son Dada (Dhruv Vikram).
In some ways, Mahaan is Karthik Subbaraj’s twist to Thalapathy. Instead of estranged brothers, here, we have an estranged son who is keen on taking out his father’s accomplices.
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With Gnanam scheming against them as well, can Mahaan ensure the safety of his family? Karthik Subbaraj takes his time to set up the plot (in fact, the entire first half is just set-up) and it is only in the latter half that the plot kicks off, but he does this in a gripping manner.
The funky Evanda Enakku Custody song and an almost single-shot stunt scene that happens near a car are the chief highlights in this portion.
With Mahaan and Dada involved in a dangerous game, the scenes get more intense. A scene between the two characters and Rocky (Sananth) is a highlight.
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The filmmaking in this portion is typical Karthik Subbaraj… Flashy and fantastic, with the jittery camera work (by Shreyaas Krishna) mirroring the shock and indecisiveness of Gandhi.
Strangely, barring in instances like these, the visual flair that we have come to associate with this director seems missing.
While the plot developments aren’t that surprising (by now, the twists in a Karthik Subbaraj film are anything but that), the manner in which the events in the present mirror those that occurred in the prologue makes things interesting.
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But the filmmaker doesn’t quite pull off the thematic aspects in this tale. It is, in a sense, the story of sons and fathers — Mahaan and his father, Mahaan and Dada, Sathyavaan and Rocky, Gnanam and Victor — but it is hard to surmise where Karthik leads this angle to.
Is it about fathers shaping up the lives of their sons? Or about sons rebelling against their fathers? Or both? It is in such instances that you wish the female characters, especially Naachi, had been fleshed out better.
At the same time, he over-elaborates when it comes to what it means to follow an ideal. We get that forcing someone to follow an ideal — however lofty it might be — is a form of violence in itself, but the director ends up making this statement in the form of words as well, which feels totally unnecessary.
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Thankfully, the emotional stakes keep getting higher and the actors deliver splendid performances.
There is an air of casualness in Vikram, who seems to have loosened up a lot, that only shows the actor enjoying himself with a performance that is his best since Raavanan, which was way back, in 2010.
Dhruv matches up to him in many of the scenes, proving that he is a chip off the old block. Simha, Muthukumar, Simran and Sananth, too, deliver memorable performances that elevate the scenes and the film.