MOM – Movie review
Directed by : Ravi Udyawar
Produced by : Boney Kapoor, Sunil Manchanda, Naresh Agarwal, Mukesh Talreja, Gautam Jain
Screenplay by :Girish Kohli
Story by : Ravi Udyawar, Girish Kohli, Kona Venkat Rao
Music by : A. R. Rahman
Review by Saibal Chatterjee on NDTV:
Rating: 3.5 out of 5
Sridevi, Magnificently Expressive, Is A Treat To Watch
It plays out along largely foreseeable, if disquieting, lines, but MOM doesn’t strictly fall into the category of a conventional rape-and-revenge drama. It breaks free from the genre constraints on the back of a clearly defined moral and emotional context. It presents vengeance as a choice between two wrongs separated only by their respective degree of severity: galat aur bahut galat, as the titular character puts it.
MOM is what Raveena Tandon’s Maatr, wasn’t: relevant, riveting and oddly rousing despite its grim theme
But do two wrongs ever make a right? If all this sounds like a bit of sophistry to justify the act of cocking a snook at the law, it is evident all through MOM that the two vendetta masterminds – schoolteacher Devki Sabharwal (Sridevi) and private detective Daya Shankar Kapoor (Nawazuddin Siddiqui) – are acutely aware of their ethical compass. The ambivalence at the core of the film places MOM a cut above the average Bollywood retribution drama.
Review by Rohit Vats on Hindustan Times
Rating: 3 out of 5
A black car speeds its way through a deserted Delhi road on a pitch dark night. An aerial shot shows it halting at a lonely crossroad. Two doors open, and the driver swaps his seat with a person in the rear. The car starts moving again, and sometime before daybreak, its occupants throw a teenage girl into a roadside drain.
We haven’t been shown the inside of the car, but we all know what could have happened there. Hundreds of media reports scream of such crimes against women every year, but people simply pick up the pieces and move on with their lives. This movie is not about them. It is about a mother who decides to avenge the rape of her daughter because the law couldn’t get her the justice she deserves.
Review by Shiksha Singh on Book My Show
Mother of All Movies
Like one of the dialogues in the movie, someone truly said that God cannot be everywhere, so he created mothers. Mom, the movie, is a depiction of a mother’s love towards her kids and how she can go great lengths in order to protect them. Sridevi is back and she is exactly opposite of the avatar she donned the last time.
The film revolves around Devki (Sridevi) and her family. She has two beautiful daughters and a loving husband, a perfect family to be precise. However, Arya (Sajal Ali), is a sensitive girl. She cannot accept Devki’s love wholeheartedly because she believes that “…a daughter comes into a mother’s life. A mother does not come into the daughter’s life”. Devki still believes that one day Arya will accept her with all her heart. But then a mishap further distances both of them beyond a point of return. This leaves Devki with no choice but to choose between what’s wrong and what’s very wrong.
Sridevi continues her streak as a kickass Mom.
Review by Anna MM Vetticad on First Post
Goddess Sridevi is lost to Bollywood’s eternal clichés on sexual assault
How could you get the politics of your film almost perfect in the first half, then descend into eternal Bollywood clichés about rape and maaaaaaa in the second? How could you go from low-key to high-pitched within the span of a single narrative? How could you assemble some of the most talented screen performers ever seen together in a film, then limit many of them with one-dimensional characterisation?
In the opening half of Mom, I found myself sobbing uncontrollably and moved to the point of speechlessness.
Review by Kunal Guha on Mumbai Mirror
Rating: 3.5 out of 5
Several scenes in Mom wordlessly convey more than what can be said through dialogue. In one, a teen is dragged into a black SUV as she’s leaving a party and the following sequence offers only an aerial view of the vehicle as it cruises down the road. This GTA view, accompanied by a sinister score, triggers the imagination to picture the possibly hellish acts taking place inside the vehicle. In another, following a spate of rapes in the city, a concerned father seems silently unsettled as he stares into oblivion from the roof of his modest Old Delhi home. His daughter arrives with a cup for tea. As he turns to her; his eyes convey his fear about the fragile state of affairs, and then he turns his gaze away as she looks on puzzled at what evoked such melancholy.
The films’s story, not sharply different from Raveena Tandon’s Maatr, features a daughter unwilling to accept her stepmom. But when the said daughter Arya (Sajal Ali) doesn’t return from a party, her mother Devaki (Sridevi) is frantic. She scans the attendees and quizzes her friends but gets no answers. Soon, her worst fears are realised when Arya’s disfigured body is discovered in a ditch. A legal battle ensues as Arya offers a statement pinning the perpetrators. But lack of incriminating evidence against the accused leads to naught.
In the eponymous role, Sridevi conveys distraught and determination like few others.
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