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In a vacuum, Mom is an engaging revenge thriller that fully utilizes its star’s considerable charisma. Yet the film’s very existence raises the question as to whether the genre has exhausted its ability to add to the conversation about rape.
Sridevi plays the titular mother, Devki, a secondary school teacher. She has a young daughter Priya with her husband, Anand (Adnan Siddiqui), who brought another daughter — 18-year-old Arya (Sajal Ali) — with him into the marriage. The strained relationship between stepmother and stepdaughter is exacerbated by the fact that Devki is Arya’s Biology teacher. When a fellow student, Mohit, texts Arya lewd material during class, Devki throws Mohit’s phone out the window.
Arya later rejects Mohit’s advances at a party, so he enlists his sleazy cousin Charles (Vikas Verma), security guard Baburam (Pitobash), and drug dealer Jagan (Abhimanyu Singh) to kidnap her. They gang rape Arya and leave her for dead in a ditch. Upon waking, Arya bitterly tells Devki that the men told her “Call your mom!” during the assault.
When the justice system inevitably fails to convict the men, Devki realizes that her relationship with Arya will be irretrievably broken unless she takes revenge upon them herself. She enlists a private detective named DK (Nawazuddin Siddiqui) to track down the rapists before the lead police officer on Arya’s case, Mathew (Akshaye Khanna), uncovers her scheme.
There’s a lot to like about Mom, chiefly Sridevi, who is most heartbreaking in moments when Devki futilely tries to connect with Arya. Ali, for her part, nails the moody teen role. First-time feature director Ravi Udyawar maximizes Sridevi’s legendary beauty in a number of strikingly composed shots. (Udyawar’s camera direction is less successful in a hard-to-follow chase scene.)
Debutant screenwriter Girish Kohli provides his actors with memorable dialogue, and Khanna and Nawazuddin Siddiqui deliver their lines with style. Adnan Siddiqui gives gravity to a role that requires him to stay in the background in order to keep Sridevi in the spotlight.
Things get tricky when considering whether we need another movie about avenging rape. I’ll concede that living in America my whole life has exposed me to many stories about this topic, both fictional and non-fictional. The Hollywood film The Accused brought the story of justice for a gang rape victim into the mainstream back in 1988. Until recently, many Hindi films treated the rape of a woman as nothing more than a catalyst to provoke a male hero into action. Real-life sexual assaults in India in the last several years have shifted the focus of fictional stories — such as 2016’s Pink — onto the victims themselves.
So while there is still a desire among Indian filmmakers and audiences to confront the horrors of rape, I’m not sure that Mom treads any new ground in doing so. There is a cliched shot of Arya in the shower following the rape, scrubbing her skin so hard that it bleeds. A man is raped in jail and is laughed at for it — as though male rape is less serious than female rape. There’s a belief that the perpetrators deserve punishment that damages their sexual organs, and also a belief that doing so will restore Arya to her former self, at least to some degree.
All of these ideas have been presented so often in movies that we’ve taken them for granted. But are these ideas actually valuable, or do they just feed off the sense of helplessness experienced by bystanders to rape, whether immediate or from afar? Too many films about rape function as a kind of call-to-action fantasy for someone other than the victim — only this fantasy requires someone to suffer in order to bring it to fruition.
Director Udyawar does the right thing by not showing the acts of sexual violence, focusing instead on the aftermath. It removes any chance of such violence being sensationalized or depicted as titillating. He also fairly assumes that the Indian justice system (like the American justice system) is rigged against rape victims. But other than establishing those benchmarks for future filmmakers, Mom covers a lot of familiar territory. It’s a well-made movie, but I’m not sure it’s a story I needed to see again.
- Mom at Wikipedia
- Mom at IMDb
- The Accused at Wikipedia
- My review of Pink
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Exactly, Kathy, I agree with your views. I understand that the director wanted explicitly to focus on the emotions of the stepmother rather than the victim of rape. Her journey from being called ‘Mam’ to ‘Mom’. Even then this forms a very small part of the narrative as the entire second half focuses on plotting revenge. The portrayal of chemistry between the stepmother and daughter was lacking in the later part of the film and it came out as just another film about rape and the subsequent revenge of the act.
I also did not like how this film brought out the inefficiency of the Indian Judiciary! And that the message it promoted was not to appeal to the higher courts but to instead take law into your own hands. The scenario has changed considerably today. It’s increasingly difficult for the perpetrators of sexual abuse to rig the system, however rich. It gets widescale media attention especially if it happens to a minor from Delhi.
I also did not appreciate the girl’s behavior towards her stepmother before the incident and immediately after. She was such a good human being and it did not require much effort to like her. Even after the incident, she behaved very rudely with her. Can one attribute it to teen behavior? I think not.
Thanks, Aikya! Wouldn’t it have been interesting if the dad had a bigger role in the second half as he tried to go the legal route? We only saw him on the phone a couple of times complaining to lawyers. What if it was more of a race against time: as if jail wasn’t punishment enough, and Sridevi really wanted to kill the bad guys herself before they got locked up? That would’ve been intense!
As for the daughter, I found her bad attitude toward her stepmom refreshing. I’ve never lived in India, but I have trouble believing that Indian teens are always respectful, always grateful, always loving toward their parents — the way that Bollywood movies often portray them to be. Still, the depth of the enmity between Arya and her stepmom would have made more sense if she was the NEW stepmom, and if they were still getting used to each other. Judging by the little sister’s age, Dad and Sridevi had been together for at least eight years or so. That’s a long time for Arya to be so actively resentful. Her attitude might also be more believable were she a younger teenager (and not 18), but Bollywood’s not going to make a mainstream movie about a 15-year-old getting raped.
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