Despite all its noble intentions of amplifying the crime against women, director Ravi Udyawar’s Mom reiterates the stereotypes associated with rape. A youngster keen on going to a Valentine’s Day party at a farmhouse is a premise that goes on to state: Girls shouldn’t party till late, else they can be sexually assaulted.
The parent, i.e. the mom (step-mom, to be precise) of this young girl in question takes every precaution to ensure her daughter’s safety. For instance, right from the usual checklist questions like ‘whom are you going with?’, ‘who is going to drive?’ ‘is there a male member with you?’, ‘call me as soon as you are about to leave’, etc.
Needless to mention, this ‘safety checklist’ doesn’t stop the inevitable from taking place. The second half is your usual ‘Zakhmi Aurat’, ‘Phool bane angaarey’, ‘Mardaani’ and ‘Maatr’ fare. Speaking of Maatr, the film steered clear of the usual ‘girl goes to party and gets assaulted’ or ‘couple go out in the dead of the night and the woman gets raped’ and showed an ordinary situation of being late from an award function and taking the wrong road, which eventually proves to be fatal for the mother and daughter. Pink went on to break the clutter and stand out with its realistic treatment of getting inside the criminal’s mind, as well as the victim’s emotions. The screenplay written by Girish Kohli heads south. What could have been a smart cat-and-mouse game ends up becoming a yawningly predictable affair.
The key focus of Mom remains on Sri Devi, who makes a comeback after English Vinglish (2012), understandably so, owing to the fact that it’s her 300th film. The emotional graph of her character is portrayed with a veteran’s ease, which is indeed worth an applause. The other actors worth a mention are Sajal Ali as the daughter (An unmistakable look-alike of Kareena Kapoor), Adnan Siddiqui as the cool and composed dad who is quite a find, and Vikas Verma as one of the baddies, who in a brief role, leaves an impression that he is here to stay.
The film oscillates between ‘Stepmom’ and ‘Maatr’ and while they are at it, we are introduced to some fascinating characters like Dayashankar Kappor aka DK (Ably played by the ‘unrecognizable’ Nawazuddin Siddiqui) and Mathew Francis (Akshaye Khanna in a terrific form). DK is a failed detective frantically looking for work and often doubles up as a matchmaker. Nawazuddin seems to be uncomfortable in the odd get-up and yet shines out with witty one-liners delivered in his inimitable style. On the other side, Akshaye Khanna’s Mathew Francis is an aggressive cop with a rich repository of informants yet is bogged down by bureaucracy and corruption.
These traits of DK and Mathew Francis, though hinted at the outset, remain unexplored throughout the film. There’s a scene where Mathew Francis is interrogating DK and breaks into an impromptu grin, which is the second-most powerful scene of the film. The scene will fascinate you even after reading this criminal of a spoiler. Cinematographer Anay Goswamy, take a bow.
Second-best, because the only scene from Mom that will stay with you even after leaving the auditorium will surely be the one where rape is being depicted without showing anything gory. The scene catches you unaware and forces you to imagine the unimaginable by deploying a bird’s eye view camera angle and a haunting background score by AR Rahman.
Speaking of music, the songs of Mom, especially ‘Be nazaara’ and ‘Muafi mushkil’ are gems that remain hidden in the film as mere background scores and leitmotifs. Thankfully, the song, ‘O sona’ is the only one to survive the editor’s (Monisha R. Baldawa) merciless snips, but by the time you watch this song, you have already given up on the film, blame it on truckloads of melodrama thrown at you.
To sum it up, Mom is too much of Sri Devi and too little of Nawazuddin Siddiqui and Akshaye Khanna. Too much of AR Rahman’s background score and too little of his brilliant songs. Too much of melodrama and too little of a story. Too much of promise and too little of delivery.