What ceases Sridevi’s Mom from getting nearer to Red is its incapability to get inside the bad guys’ minds. Nawazuddin Siddiqui is top form in Mother. Here’s our movie review.
Ensemble: Sridevi, Nawazudin Siddiqui, Akshaye Khanna
Director: Ravi Udyawar
A black car speeds its way through a deserted Delhi street over a pitch dark nights. An aerial shot shows it halting at a unhappy crossroad. Two entry doors available, and the drivers swaps his seat with a person in the trunk. The car starts off moving again, and sometime before daybreak, its occupants toss a teenage young lady into a roadside drain.
We haven’t been shown the within of the automobile, but most of us know what could have happened there. A huge selection of media information scream of such offences against women each year, but people simply pick up the parts and go forward with their lives. This movie is not about them. It is about a mom who makes a decision to avenge the rape of her little girl because the law couldn’t get her the justice she deserves.
A likeable-yet-strict biology educator Devaki (Sridevi) is your average parent or guardian who would like to keep tabs on the public life and friends of a teenager Arya (Sajal Ali). She is Arya’s stepmother, and is probably why Arya doesn’t appear to trust her. The child’s rape threatens to further tear them aside, but Devaki is set never to let that happen.
Now, all this may sound like the recently released Maatr, where Raveena Tandon played a mom who goes mountains to punish her daughter’s rapists. Though Mom is similar in tone, the prior film didn’t have stars like Nawazuddin Siddiqui, Akshaye Khanna and Adnan Siddiqui.
The supporting ensemble actually is a great advantage for director Ravi Udyawar’s film, which brings out the mental injury experienced by the rape victim as much as it celebrates Sridevi’s valour.
Dayashankar Kapoor aka DK (Nawazuddin Siddiqui) is the real charmer in Mother. He is aware exactly when to change gears and how to look timid despite being in the spotlight. The actor’s knowledge of his reel-life persona involves the fore in an interrogation picture with criminal offense branch cop Mathew Francis (Akshaye Khanna). DK is frightened like any other law-fearing resident, but he still summons the courage to preserve his composure in the circumstances.
And, of course, there are his one-liners. When informed that a certain piece of modern skill costs Rs 50 lakh, he murmurs: “Isse toh achcha main paan thuk ke bana deta (I possibly could have made a much better painting by spitting betel juice on canvas).”
Akshaye Khanna has a good screen presence in Mommy.
Disregard Akshaye Khanna’s twitched eyebrows for a couple of seconds and you will start appreciating his sarcastic shade. He remains underutilised, though, probably to provide Sridevi more display screen time. The movie appears to be headed in the right route, complete with a fantastic mental outburst by Devaki inside a medical center in the first half, but the storyline soon commences to waver.
What stops Mom from becoming more like Green is its incapability to get into the intellects of the thieves. Abhimanyu Singh is unquestionably menacing, but his accent is nowhere near what his character must have. Other typically Bollywood liberties have also been taken to decrease the stature of the movie from a gut-wrenching film to a somewhat above-average revenge drama
Verbal duals between Sridevi and Akshaye Khanna appear staged, as though subtlety was the last thing on the filmmaker’s mind. They neglect to achieve what Nawazuddin Siddiqui does with a single glance. Just one single check out his own little girl, and you understand whose side he’s on. No words are needed.
Pakistani professional Adnan Siddiqui leaves his tag in Mom.
To provide credit where it’s due, Mom does buff the audience’s anger against people who enjoy anti-women crimes. However, it never intends to create a full-blown fire that could change the attitude of potential criminals in similar situations. Instead, Sridevi takes it after herself to provide justice – in so doing undermining the power of legislations and related equipment. That’s where Pink excelled.
Fortunately, Mom does what it intends to: Turn into a film that can take the audience’s attention for 148 minutes. A couple of no intricacies that unfold step by step (it’s mainly predictable, really), but Girish Kohli’s screenplay ensures an entertaining drama.
It has been five years since we saw Sridevi nailing it in British Vinglish (2012). Though she’s made a sensational comeback with Mother, I still believe it’s Nawazuddin Siddiqui who results here.