Dhayalan (Fahadh Faasil), a small-time thief fresh out of Palayamkottai Central Prison, finds himself back to his old ways when he breaks into a locked house in Nagercoil. Instead of valuables, he discovers Velayudham (Vadivelu) chained in a room. The elderly man claims his son has restrained him due to his Alzheimer's condition and promises payment in exchange for freedom. When Dhayalan learns of Velayudham's substantial bank balance of Rs. 25 lakh, greed takes over, and he decides to escort the old man to Tiruvannamalai on his motorcycle, harboring plans to steal the money.
Director Sudheesh Shankar uses this unlikely journey to explore profound themes of redemption, human connection, and the transformative power of companionship, weaving together Dhayalan's moral awakening with the mysteries surrounding Velayudham's past.
Vadivelu delivers a career-defining performance as Velayudham, masterfully crafting a character that evolves with remarkable depth and authenticity. His portrayal seamlessly transitions between formal dignity and childlike innocence, capturing the volatile emotions of someone battling memory loss, from moments of confusion that evoke genuine sympathy to instances of unexpected clarity that provide comic relief. Most impressively, Vadivelu maintains the character's inherent dignity throughout, departing from his typical comedic persona to embrace a more nuanced body language that serves the story's emotional weight.
Fahadh Faasil excels as the cunning yet vulnerable Dhayalan, bringing his characteristic intelligence and agility to the role of a street-smart thief. His performance shines in subtle moments where minor facial expressions and body language reveal the character's internal transformation. The actor skillfully navigates Dhayalan's journey from opportunistic criminal to someone capable of genuine human connection.
The supporting cast, including Vivek Prasanna and Kovai Sarala, effectively contributes to both the thrill and emotional beats, with ample support from Sithara in the flashback portions.
Cinematographer Kalaiselvan Sivaji captures the essence of the road journey with understated natural cinematography that emphasizes the vastness of highways and the intimacy of village landscapes. While some may find the visual approach deliberately unembellished, it serves to focus attention on the evolving relationship between the protagonists rather than overwhelming the narrative with flashy imagery. Editor Sreejith Sarang faces challenges with narrative coherence in certain sequences, resulting in some jarring transitions that occasionally confuse viewers. However, the overall pacing maintains the story's momentum effectively.
Yuvan Shankar Raja's musical contribution proves to be a mixed blessing. His remix of Ilaiyaraaja's classic "Nethu Oruthara Oruthara Parthom" infuses the film with nostalgic energy, while the original composition "Maareesa" provides soothing accompaniment to the journey. However, other musical numbers fail to enhance the travel experience meaningfully. Where Yuvan truly excels is in his background score, which masterfully elevates both emotional and suspenseful moments throughout the film.
The film's first half thrives on the dynamic contrast between its two protagonists. The comedic situations arising from Dhayalan's frustration with Velayudham's memory lapses, combined with his increasingly desperate attempts to access the money, create genuinely entertaining moments filled with clever twists and turns. The gradual revelation of Velayudham's mysterious background adds layers of intrigue that enrich the screenplay considerably.
However, the second half presents a more challenging viewing experience. While the story attempts to transform into a thriller by revealing darker dimensions of a main character, the execution falters due to a predictable backstory that lacks originality and novelty. The revelation feels disappointingly conventional, undermining the tension that the narrative tries to build.
The climactic sequences suffer from excessive heroic elements that feel forced and unrealistic. Logic takes a backseat in these scenarios, as the film provides unnecessary action sequences and emotionally manipulative moments that feel disconnected from the otherwise grounded approach. Only the presence of unexpected plot twists and well-crafted dialogues of Vadivelu prevent the conclusion from completely derailing into generic commerical territory.
Despite stumbling in its second half, "Maareesan" succeeds as an engaging character study that explores the unlikely bond between two vastly different individuals. The film works best when it focuses on the intimate dynamics of its central relationship, allowing both Vadivelu and Fahadh Faasil to showcase their considerable talents.
Like the magical golden deer from folklore, "Maareesan" captivates audiences with its charm and emotional resonance, even when its narrative occasionally loses its way. While it may not achieve perfect consistency throughout its runtime, the film offers enough genuine moments of humor, pathos, and human connection to make it a worthwhile cinematic experience.