Maaveeran follows the story of a cartoonist living a simple life amidst the issues related to his flat after newly shifting in it, wherein he prefers to ‘adjust’. This until his life changes forever following an accident. Now once again, I have kept the plot of the film under wraps as there is so much to pack in. But the story here is a relevant drama with strong social undertones wrapped up as a quirky comedy. The tone of the drama is satirical yet it mixes the commercial elements wonderfully well in its narrative. The screenplay standing at a daunting runtime of 160 odd minutes does make for one of the most entertaining and smartly penned screenplays of the year!

The drama opens with a comic strip being played out on the bigscreen featuring a ‘superhero’ saving the day for the people of his kingdom. The camera pans out to find the protagonist giving the final touches to the comic strip establishing the fact that he is a cartoonist. Soon, there are a string on incidents that further give the details about the personality of the protagonist who refuses to ask questions to the higher authorities, be it in his work or in his personal life, just choosing to adjust most of the times. This is a certain sense of resentment which he doesn’t allow it to surface while often discouraging his family to question the authority too. Soon a turn of events involve him and his family to shift to a ‘redeveloped’ building which already starts to crumble, later turning into a hotspot for a life altering accident for the protagonist.

The proceedings are engaging and thoroughly entertaining while providing a searing commentary on the current political climate of the country where most are discouraged from asking questions. This while the writing also explores themes of herd mentality, while unfolding like a comic book strip with its tonality. This drama can also be categorized as a superhero movie which is on the lines of Bhavesh Joshi Superhero, a superhero film with a searing social and political commentary. The events are interesting and coated with a generous paint of humour that makes for a bizarrely fun watch while always staying true to its tonality.

There is a sense of light heartedness to the proceedings even in some of the most serious situations while putting the commercial trope to great use. The events leading up to the final act are well written wherein the momentum of the film is not stalled, although I did feel that some parts of the screenplay could have been edited out for a crisper runtime. But the final act that begins on a relevant note with quirky undertones soon ends on a very dark note, an end that I did not quite see it as coming. There was a genre shift culiminating into a dark final act which may have been intentional with the makers wanting the drama to linger on long after the film has ended. This sums up one of the most entertaining and smartly penned screenplays of the year which is quirky and hard-hitting at the same time.