‘Maareesan’ review: Vadivelu-Fahadh road drama is gripping but makes a few missteps

Some road movies celebrate the liberating joy of travel — think the boy gang in ‘Zindagi Na Milegi Dobara’ or Kasi’s ride through self-discovery in ‘Neelakasham Pachakadal Chuvanna Bhoomi’. ‘Maareesan’, which reunites Vadivelu and Fahadh Faasil after ‘Maamannan’, is a road drama too — but one that sets off with a different purpose and beat.

Dayal (Fahadh Faasil) isn’t your typical thirty-something on a soul-searching trip. He’s a seasoned thief looking to make a fortune off his fellow traveller, Velayudhan Thampi, an elderly man grappling with Alzheimer’s.

The film’s first half unfolds at a slow pace, as director Sudheesh Sankar takes his time establishing the two central characters on their journey to Thiruvannamalai. It’s not an easy ride for them — or for audiences who prefer fast-paced narratives to the quiet rhythm of conversation-led drama, like in the recent ‘Meiyazhagan’. But this slow burn is key: it’s where Dayal and Velayudhan begin to connect — a bond that drives the story forward.

Just before the interval, we’re reminded of a rat that escapes near-death in a trap only to cross paths with a snake. Does it mean something in a story about a curious friendship? That’s left to the audience to interpret, but it certainly signals a shift in tone for the second half.

There’s enough drama post-interval to hold attention. The second half picks up pace but treads a familiar and somewhat predictable path. A few twists manage to stand out, though they’re held back by occasional lazy writing.

Fahadh Faasil, known for slipping into characters with ease — be it the eccentric Rangan Annan in ‘Aavesham’ or the scheming politician in ‘Maamannan’ — brings his trademark charm to Dayal, the quirky thief. Yet in some scenes, his performance feels a tad forced — unusual for an actor who usually makes it look effortless.

Vadivelu remains a formidable presence. Just like in ‘Maamannan’, his scenes with Fahadh in ‘Maareesan’ crackle with a quiet intensity. Their onscreen back-and-forth works in the film’s favour.

Yuvan Shankar Raja’s music stays subtle and never overwhelms, complementing the mood of the journey. Kaleiselvan Sivaji’s cinematography shines in parts, especially in capturing the lush paddy fields of Nagercoil.

‘Maareesan’ moves in two different gears, but there’s enough in both halves to keep viewers engaged.