BOTTOM LINE
Quirky Idea, Clumsy Film
PLATFORM
NETFLIX
RUNTIME
2HRS 10Mins
What Is the Show About?
Rekha, a widow and her two daughters are forced to unite when they find a neighbour’s dead body in their home. To avoid scandal and the police, they must stop fighting and work as a team. As their ordinary lives take an unexpected turn and the odds are stacked against them, the trio must navigate family secrets, hidden tension, and rely on each other.
Performances
Maa Behen has a long list of stellar actors who remain underused. It is only Triptii Dimri as Jaya, whose volatile anger as a woman confined to domestic duty makes a mark with her vulnerable yet equally resilient performance. Madhuri Dixit disappoints again in an emotionally distant portrayal that makes little impact. Dharna Durga, Arunoday Singh, and Shardul Bharadwaj are strictly okay. Ravi Kishan and Gullak-fame Geetanjali Kulkarni are wasted in poorly written parts.
Analysis
Filmmakers are increasingly finding innovative ways to tell compelling stories about women transcending norms dictated by a repressive society. From Mrs (remake of The Great Indian Kitchen) to Revolver Rita and Darlings, many recent releases have addressed women’s concerns, including internalised patriarchy, domestic monotony, and moral policing, through fresh narratives in contrasting genres.
Maa Behen is deceptively packaged like a quirky crime caper. Yet, beneath all its external chaos is a story of three women, a mother and two siblings, finally coming to terms with their true identities and confronting their worst fears. The trio gets to heal their wounds in an hour of crisis and find a way to tolerate one another despite their differences, having fallen prey to social conditioning all along.
All the key characters lead toxic lives from which they struggle to escape, even while not identifying themselves as victims. Rekha loses her husband early, braving prying men, to raise her daughters. Jaya is married off for her ability to make rotis; Sushma is banished from her village for her romantic overtures. Leading troubled lives under constant judgment, they hopelessly bicker with one another.
While Jaya slogs day after day to serve the men in her house- her husband, his triplet siblings, and a father-in-law- Sushma is busy making reels with her brother-in-law (Jaya’s husband) and dealing with online trolls. One night, Rekha makes a frantic call to her daughters, venting about a neighbour who has dropped dead in her home. As they arrive at their house, the challenges for the women begin to mount.
The satirical, comic-book-style narrative, in which each of their backstories comes alive through sensational news-bulletin commentary, indicates how women are treated as objects of honour. The exaggerated voice-overs, more than defining the women, tell the kind of world they live in. Their clothing, desires, and financial independence are viewed as threats.
Elderly women nearly faint noticing Rekha’s sleeveless blouse as a newlywed wife. An accidental distraction in the kitchen is the reason why Jaya even gets married. Questions are raised about Sushma’s biological father. The men keep making their lives miserable, and the women must fight to survive. And the story is literally a plea to let them breathe and live life on their terms.
The intentions are on point; the techniques used for character intros, the focus on the stifling environment of the village, and the non-linear narrative style are appealing. The premise is set up smartly. Yet, just when you expect the film to use its flashy exterior to do something more, it loses all of its spunk. Monotony creeps in, and too much time is lost in establishing the love-hate relationship among the women.
Maa Behen’s issues are strikingly similar to Subedaar, another recent release from the film’s director, Suresh Triveni, which turned into a damp squib despite its captivating world. After a passable start, the writing is bereft of any freshness. While the backdrops and the character backstories are established well, the resolution is far from convincing and far too convenient.
The film’s idea of long-lost sisterhood, that the women are finally freeing themselves from past baggage, makes for potent cinema but this one does not strike an emotional chord much. Capable actors are left with little to do owing to the weak writing and uneven execution.
Music and Other Departments?
Akashdeep Sengupta’s Yeh Kaisi Raat is easily the best track in the album, while Subhajit Mukherjee’s lively background score passes muster. Cinematographer Anuj Rakesh Dhawan’s wacky, slightly over-the-top visual aesthetic complements the film’s world. Dipika Kalra’s editing style is unconventional and original, though the patchy writing does not tap into its strengths as well as expected.
Highlights?
Quirky premise, with relevant themes
Technically impressive in parts
Triptii Dimri’s performance
Drawbacks?
Loses steam midway
Redundant, weak writing
Wasted potential of a good cast
Did I Enjoy It?
In parts, but nothing memorable on the whole
Will You Recommend It?
Not really, even if you happen to like the previous works of the director or the cast
Maa Behen Netflix Movie Reviewed by M9 News
