Magalir Mattum Tamil Movie Download Leaked By TamilRockers, Movierulz, TamilGun, TamilYogi, Filmyzilla

Magalir Mattum Synopsis: A progressive documentary filmmaker reunites three older girls who have been separated since school and takes them on a visit.

Magalir Mattum Review: Magalir Mattum begins in 1978, after we see three ladies – Gomatha, Rani Amirthakumari (Shobana Karthikeyan), and Subbulakshmi (Nivedhithaa Sathish) – sneak out to watch a movie, arguing whether it’s a Rajini movie or a Kamal movie. movie is (it is any, because the movie is Aval Appadithaan).

The movement then cuts off abruptly to the stream, to Gomatha (Urvashi). Her husband is not an extra and her son Surendar (Madhavan, in a cameo) works in Qatar, while she lives with his girlfriend-fiance Prabha (Jyotika), a documentary filmmaker.

Prabha is intrigued by Gomatha’s memories of her long-divorced school staff. Just like in Dad. Pandi is the Facebook that helps people who are long lost.

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Rani (Bhanupriya) is now in Agra, and her husband (Nasser) and son (Pavel Navageethan) are politicians hoping to win an upcoming native physique election. Subbu (Saranya Ponvannan), a beautician, has a loveless marriage to Mangalamoorthi (Livingston), who nevertheless longs for a lover from his previous one.

And Prabha plans a reunion for the three by approaching a three-day journey…

Feminist, cinematic and feel-good, that’s Magalir Mattum. The film by no means shuns its feminist credentials and repeatedly takes into account how girls and their desires get trapped in the “maayajaala prison” called marriage. We first see this set forth in a housewife’s sort of diatribe in Prabha’s documentary (entitled The Great Indian Housewives). And we love getting the ‘message’ within the Subbu and Rani type. But that’s also where the film sits on a shaky floor. The males in Magalir Mattum are conveniently much less sketched. Like 36 Vayadhinile, this film too is content material to denote men who associate with their wives and mothers as servants to achieve the goal of ladies earning higher.

It also gives the impression that it is precisely the early era of ladies that faced discrimination and this era has it pretty good if you want to see the character of Prabha who is just about an open-minded lady. And this feels quite deceiving. Prabha is more than a personality, it looks like a catalyst – a storytelling gadget. We don’t really get a perception in her. “Manasukku pudichavana kalyanam pannanum, manasukku pudichavan kooda vaazhanum. Adhu dhaan real liberation,” Prabha says on one level, and it seems a relatively simplistic definition of the views of this important character.

The setup of the film is a sort of cinematic, more Hollywood indie film than rooted drama. The film doesn’t care much for realism, unlike Bramma’s earlier effort, the hard hitting Kuttram Kadithal, and remains content to amuse us with material. Not that there’s anything wrong with a film that strives for a wish-fulfillment, but the plot factors below are quite predictable – a son realizing how badly he’s treated his mother, a husband finally admitting that his husband deserves more, flashbacks to us to indicate the friendship that existed between the three girls…

Yet the feel-good thinking about Magalir Mattum eliminates many of those problems. The film manages to walk an effective middle floor between lecturing and showing the inequality that exists in our society. It shouldn’t be overtly manipulative either, and the emotional moments show us that the heart is in the right place (Ghibran’s punchy songs and appreciation let us know the point is to have fun girls). The actors are all endearing, and the chemistry between the three senior actresses in particular (their characters mirror the on-screen personas now that we’re hooked up with them) simply shows that they were fat collaborators before. And Jyotika, appearing youthful, is by no means exaggerating Prabha. Both she and Bramma realize that the actual protagonists listed below are the three girls and prevent Prabha from dominating the movie. In one scene, Rani remarks that she hoped she would be no less than a supporting character in her personal story, but she wasn’t to be. However, Jyotika and Bramma state that it is achievable for any lady to be a heroine! This may also be their greatest achievement.