Movie Review: Maaman (2025) – A Heartfelt Yet Flawed Family Drama
Maaman, released on May 16, 2025, in Tamil Nadu theaters, marks another step in comedian-turned-leading-man Soori’s evolution as a versatile actor. Directed by Prasanth Pandiyaraj and produced by K. Kumar under Lark Studios, this Tamil-language family drama explores the emotional complexities of familial bonds, particularly the relationship between a doting maternal uncle and his nephew. With a strong ensemble cast featuring Soori, Aishwarya Lekshmi, Swasika, Rajkiran, Bala Saravanan, Baba Bhaskar, and young Prageeth Sivan, Maaman aims to tug at heartstrings with its sentimental narrative. While it succeeds in delivering emotional highs and showcases commendable performances, the film’s reliance on outdated tropes, uneven pacing, and regressive undertones prevent it from soaring as a modern family entertainer.
Set in Trichy, Maaman centers on Inba (Soori), a sweet shop owner whose life revolves around his family, particularly his elder sister Girija (Swasika) and her son, Nilan, aka Laddu (Prageeth Sivan). Girija, married to Ravi (Baba Bhaskar), endured a decade of societal scorn for being childless before Nilan’s birth, with Inba as her unwavering emotional anchor. His bond with Nilan is the heart of the film, a relationship so intense that they can’t sleep without each other. When Inba falls for and marries Dr. Rekha (Aishwarya Lekshmi), their idyllic dynamic is disrupted. Nilan’s clinginess—derailing everything from Inba’s wedding night to his honeymoon—sparks tension with Rekha, who craves personal space. This conflict escalates into a family feud, particularly between Rekha and Girija, forcing Inba to relocate to Madurai with his wife. The story explores whether Inba and Nilan’s bond can endure separation and how family dynamics shift under pressure.
The film’s first half is its strongest asset, setting up the emotional landscape with warmth and humor. Soori’s Inba is instantly relatable, his devotion to family portrayed with heartfelt humility. The chemistry between Soori and Prageeth Sivan is a standout, with their playful interactions—like Nilan’s tantrums and Inba’s indulgent responses—bringing joy and authenticity. A comedic highlight is the wedding night scene, where Nilan’s antics leave audiences in splits, as noted by StudioFlicks. Aishwarya Lekshmi shines as Rekha, her grounded performance embodying a woman fighting for her place in a family obsessed with Nilan. Swasika delivers a nuanced portrayal of Girija, balancing vulnerability and entitlement, though her character’s refusal to discipline Nilan feels frustratingly dated. The ensemble, including Rajkiran as the patriarch Singarayar and Viji Chandrasekhar as his bickering wife, adds texture, while Bala Saravanan’s comic relief lands consistently.
However, Maaman falters in its second half, where the emotional richness of the setup gives way to overwrought melodrama. The conflict, initially compelling, becomes repetitive, with Nilan’s behavior grating rather than endearing. Times of India aptly notes that Laddu feels like a “miniature monarch” whose whims dominate, often at the expense of narrative depth. The film misses opportunities to explore promising subplots, such as Ravi’s strained relationship with Nilan or the need for counseling to address the boy’s dependency. Instead, it leans heavily on sentimentality, stretching emotional scenes to the point of exhaustion. India Today critiques this overstretched melodrama, noting that it leaves the film feeling “lifeless” despite its heartfelt intentions.
The film’s regressive undertones are its biggest flaw. The Indian Express and The Hindu highlight how Maaman reinforces outdated gender roles, depicting women like Girija and Rekha primarily as extensions of male characters. Rekha’s reasonable requests for time with her husband are villainized, while Girija’s identity revolves solely around motherhood. These portrayals clash with the film’s attempt to explore modern family dynamics, such as the balance between individual and collective needs. Cinema Express points out that the burden of resolving conflicts falls on the women, undermining the men’s agency and perpetuating stereotypes. This old-school approach, reminiscent of 90s Tamil family dramas, feels out of step in 2025, as The Hindu laments.
Technically, Maaman is competent but unremarkable. Dinesh Purushothaman’s cinematography captures Trichy’s vibrant joint-family setting, and Ganesh Siva’s editing keeps the first half crisp. Hesham Abdul Wahab’s score, including tracks like “Kallaliye Kallaliye,” complements the emotional tone, though the songs don’t leave a lasting impression, as Hindustan Times notes. The 152-minute runtime, however, feels bloated, particularly in the second half, where tighter editing could have sharpened the narrative.
Critics and audiences have mixed reactions. StudioFlicks praises the film’s emotional core, giving it 3/5 for its heartfelt storytelling, while Only Kollywood lauds the first half’s balance of humor and drama. Conversely, Times of India (2.5/5) and Hindustan Times criticize its reliance on family sentiment over nuance. Early reactions range from calling it a “heartwarming tale” to “overly dramatic,” reflecting divided sentiment. The film’s box office performance remains under observation, but its ZEE5 streaming and Zee Tamil satellite rights suggest a wider reach post-theatrical run.
Maaman is a testament to Soori’s growth as a lead actor, following successes like Garudan and Viduthalai. His performance carries the film, though it’s not his strongest, as The Indian Express notes. Aishwarya Lekshmi and Swasika elevate the material, but the script’s flaws hold them back. Prasanth Pandiyaraj’s direction shows sensitivity but lacks the visual flair to distinguish Maaman from genre predecessors. While it touches on universal themes—family, sacrifice, and reconciliation—it doesn’t fully escape the shadow of outdated storytelling.
For fans of Soori or traditional Tamil family dramas, Maaman offers enough emotional pull for a one-time watch. However, its failure to modernize its perspective or streamline its narrative makes it a missed opportunity in Kollywood’s crowded 2025 lineup, alongside films like Retro and Devil’s Double Next Level. It’s a film that starts with promise but loses its way, leaving you moved yet frustrated.
