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Mahaan (2022 film) Movie Cast & Crew, Review by Tamilrockers

 Mahaan (2022 film) Movie

A middle-aged school teacher is abandoned by his family after he decides to live a life of his own. He realises his dream of becoming a billionaire, but misses his son.

Mahaan (2022 film) Movie Cast & Crew, Release Date, Review, Photos, Videos




Mahaan
Directed by Karthik Subbaraj
Written by Karthik Subbaraj
Produced by S. S. Lalit Kumar
Starring
  • Vikram
  • Dhruv Vikram
  • Bobby Simha
  • Simran
Cinematography Shreyaas Krishna
Edited by Vivek Harshan
Music by Santhosh Narayanan
Production
company
Seven Screen Studio
Distributed by Amazon Prime Video
Release date
  • 10 February 2022
Running time
162 minutes
Country India
Language Tamil

Mahaan (2022 film) Movie Cast & Crew

  • Vikram as Gandhi Mahaan
  • Raghavan as Young Gandhi Mahaan
  • Bobby Simha as Sathyavan "Sathya" Soosaiyappan
  • Dhruv Vikram as Dadabhai Naoroji
  • Akshath Das as Young Dadabhai Naoroji
  • Simran as Nachi
  • Vettai Muthukumar as Gnanam
  • Aadukalam Naren as Mohandoss, Gandhi Mahaan's father
  • Sananth as Rakesh "Rocky" Christopher
  • Ramachandran Durairaj as Manickam
  • Deepak Paramesh as Anthony

Mahaan (2022 film) Movie Review

Gandhi's granddad and father are adherents of, all things considered, Gandhi. His dad is so dedicated to his philosophy that he changes his child's birthday from August 16 to August 15 on his introduction to the world testament. Afterward, Gandhi weds Naachi (Simran), who is likewise a firm Gandhian. She helps her little child to close his eyes assuming he sees a Hollywood movie banner since she accepts these movies contain brutality . Gandhi isn't simply encircled by Gandhians, he is smothered by them. Their assumption to copy a man who is adored as a Mahatma troubles him. For, Gandhi's tendency is to venture to every part of the way of delights - - regardless of whether they are viewed as evil.

As a result of his dad and spouse, Gandhi, till he turns 40, lives - - rather, compels himself to live - - as indicated by the Gandhian ways. Be that as it may, life takes a sensational transform at 40 when he runs into his childhood pal Sathyavan (Simha), who has assumed control over his dad's liquor business. Submitting an endless series of sins, Gandhi becomes against Gandhi , and soon, he has a major life decision to make.

Vikram is fabulous as Gandhi Mahaan. He changes easily from a meek teacher to a weapon using liquor aristocrat. His eyes convey the wonderful hazard when he finds out interestingly that he is fit for brutality. They are similarly compelling in showing his powerlessness as a man who needs to settle on a difficult decision.

The remainder of the primary cast make a fine showing too (Dhruv's presentation is, be that as it may, a little overpitched). Simha, particularly, is great as Sathyavan. Subbaraj is in no rush while sorting through these characters. What's more, that is fine since you don't anticipate that a hoodlum dramatization should go dangerously fast.

One of the issues with Mahaan is that it doesn't exactly hit you as it ought to. For example, there is where Gandhi tells Sathyavan, "Oru vaazhkai, varalara vazhanum" [roughly means 'We got one life, make history']. It is an epic, hair-raising line on paper. In any case, your hair doesn't rise when it is expressed on screen.

One more issue is the irregularity in Gandhi's passionate chart. There is where he is sad, troubled by his own deeds. He appears as though he has lost the will to live. Yet, there is an unexpected freedom after which he gets back to his nervy self.

In its last hour or something like that, you observe the film attempting to do such a large number of things. We follow a dad child contention, an account of a man paying for his wrongdoings, a clash of two philosophies… and, obviously, in the midst of this, we get a bend too (in light of the fact that this is a Karthik Subbaraj padam). It is outstanding that Mahaan endeavors to shuffle this. Yet, after a point, it gets a piece unreasonable. Also you keep thinking about whether the film ought to have paid attention to a line from its hero. "Everything with some restraint. That is the correct method for being."
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