Mandaadi review: Soori rules the waves

CHENNAI: Set against the coastal world of Tamil Nadu’s traditional boat races, Mandaadi follows Muthukaali (Soori), a former boat racer who has walked away from the sport and his past.

His life takes an unexpected turn when Maari (Mithun Jai Sankar), the son of Ravindra Vijay’s character, lands in trouble after attacking Saattapuli’s (Suhas) son.

Sent to Chennai under Muthukaali’s care, Maari brings him face to face with the rivalries and wounds he had left behind. As tensions between the two sides grow, Muthukaali is pulled back into the world of boat racing, where old rivalries, relationships and unresolved guilt come to the surface.

Director Mathimaran Pugazhendhi creates a convincing coastal world, especially in the way he presents the fishermen, their communities and the boat-racing culture. The first half is the film’s biggest strength.

It moves at a good pace and keeps the audience curious about what comes next.

The boat-training sequences and races are among the best portions, with SR Kathir’s cinematography capturing the scale of the sea and the races beautifully. The boat sequences feel authentic, although some of the fight scenes become too cinematic and effects-heavy.

Soori delivers a strong performance as Muthukaali, particularly in the scenes where he trains the youngsters and deals with the guilt and gratitude connected to Angel Rakkamma’s past.

The physically demanding portions and boat sequences also add weight to his performance. There has been talk of this being his career-best, but it is better described as one of his strongest performances rather than his definitive best.

Mahima Nambiar is a pleasant surprise. As Angel Rakkamma, she plays a slightly older character and a mother to a son in his 20s, bringing a maturity that suits the role. Her emotional scenes, especially those involving Muthukaali, work well, making this one of her more interesting performances.

Suhas makes his Tamil debut as the antagonist Saattapuli and brings a strong screen presence to the role, although his voice does not quite suit the character.

Mithun Jai Sankar fits well as the impulsive and aggressive Maari, whose actions pull Muthukaali back into the conflict. His action sequences with Soori are also appreciable. Bala Saravanan’s comic timing works well in the lighter moments.

The second half belongs largely to Sathyaraj, who plays Mahima’s father and the man who taught both Muthukaali and Saattapuli the sport. His subtle emotional scenes, especially those with Soori, add depth to the film. The flashback revealing Muthukaali and Angel Rakkamma’s past is effective, although it could have been explored further.

GV Prakash Kumar’s energetic score suits the film’s sporty mood, while the rooted setting and community-driven storytelling occasionally carry shades of Vetrimaaran’s cinematic world.

The second half becomes predictable at times, with a few overly cinematic moments, particularly in the pre-climax, clearly designed to elevate Soori’s heroism.

Still, SR Kathir’s visuals, Pradeep E Ragav’s editing and GV Prakash Kumar’s fast-paced score keep the film engaging.

Mandaadi works best when it stays close to the sea, its people and its sport.

The film would have been stronger if its fight sequences had retained the rawness of the boat-racing portions. Overall, it is a good watch, especially on the big screen.