Maargan movie review– directed, written, and edited by Leo John Paul, is an ambitious crime thriller starring Vijay Antony and Ajay Dhishan. Released in theatres on June 27, the film promises mystery, supernatural twists, and emotional depth—but ultimately delivers an uneven experience.
A tale of grief, murder, and a blackening drug
Vijay Antony plays Dhruv, an ADGP in Mumbai still mourning the loss of his daughter, who was killed by a mysterious serial killer. When a similar murder happens in Chennai, Dhruv sees a possible connection—both victims were injected with a drug that causes the skin to blacken. Though his superiors deny his request for a transfer due to his emotional state, Dhruv travels to Chennai on his own to dig deeper.
During his unofficial probe, Dhruv becomes a victim himself, getting injected with the same drug, which darkens the left side of his body. The investigation soon leads to Tamilarivu (Ajay Dhishan), a swimmer with an unusual memory and seemingly supernatural abilities. While he starts out as a suspect, Tamilarivu’s involvement turns out to be crucial in guiding the case forward.
Fast-paced but lacking emotional punch
Leo John Paul wastes no time setting the tone—Maargan dives into the investigation from the very first frame. With a runtime of 2 hours and 12 minutes, the pacing is tight. The film attempts to blend crime with mystical themes drawn from ancient sages, making for an intriguing concept. However, the storytelling falters, especially in explaining the supernatural elements.
The core of any whodunnit lies in building suspense and delivering satisfying twists. While Maargan checks off all the genre boxes—mystery, clues, a big reveal—it doesn’t fully deliver the tension or excitement you’d expect. The screenplay often feels artificial, and the investigation scenes lack impact.
Strong performances, but missed opportunities
Vijay Antony brings sincerity to his role as a grieving cop, and Ajay Dhishan stands out as the enigmatic Tamilarivu. Their chemistry is one of the few highlights of the film. The music, composed by Vijay Antony himself, does a decent job of adding tension where the narrative falls short.
Despite an important underlying message—highlighting the mental state and obsessions of today’s youth—the film barely scratches the surface. Its attempt to raise awareness gets lost in a web of underdeveloped ideas.
Unnecessary stereotypes and final thoughts
One problematic aspect is the casual stereotyping of people from Dharavi, which feels outdated and avoidable. A more sensitive approach could have elevated the narrative.
Maargan had the potential to be a gripping thriller with a unique twist, but weak execution, clichéd staging, and shallow messaging weigh it down. It’s a bold attempt that just misses the mark.
