Mammo

Though I saw Mammo quite a long time back, many scenes of this brilliant movie are still fresh in my memory. Farida Jala puffing the cigarette, her scenes with the police, her interactions with the old nani...it feels sad that she has not been utilized int his manner before. Shyam benegal extracts her best. Though Farida has been doing many 'character roles' for a long time now, only 'Dekh Bhai Dekh', a television series, comes to my mind in her recent avatar and movies like Dilwale Dulhania Le Jayenge, raja Hindustani and Kuch Kuch Hota Hai. Not having seen much of her earlier acting ( she's been acting for ages, I guess ), she will remain for me 'Mammo', the aunt. (2 February 2006)

Within few minutes after Farida Jalal enters into the screen, memories of 'Sound of Music' surfaced in my mind. The character of Farida Jalal in the movie is one of a kind that people look forward to as their ideals. They are free spirited and invoke a sense of hope every time they come on screen. With them I can really think that nothing wrong will go in the story. Characters of these sorts are likely to exhibit powers of a silent hero who control the emotions in the film. The character of Julie Andrews in the sound of music had struck the same feeling in me like this one. I will also go on saying that having these characters I feel assured of a happy ending. It is an entirely a different feeling when you never fear even when something is going bad in the story. These characters are so Angel types that it is highly likely that we try and imitate the same. With Mammo, Farida Jalal has given me that feeling. Shyam Benegal is truly one of the best filmmakers India has. The movie went on to winning the National Film award for Best Feature in Hindi.

The story of the film is based on the maternal grandmother's sister (Mammo) who just comes into the house of the protagonist uninvited. At first you tend to feel against the character, but that is what is intended because it is needed to show how naturally her character blends into the family. How the initial reluctance turns into love and belief is blended with a powerhouse performance from Farida Jalal. Another opportunity that the director had in the film was to exploit the absence of a male in a family. There is always a visible and emotional absence of a male in their family. There is the life of a middle class family which tries to avoid a lot of problems just by any means. They struggle for simple things. They take small issues big. They manage and compromise a lot of times. Mammo is a character who smokes with a 13 year old grandson and does not make it an issue when he watches porn. She is hugely broadminded. The character of Riyaz is stubborn and irritating. Gradually his nature also changes, partly because of the influence of Mammo and some other when certain instances get raised during the course of the movie. Another beautiful character was of Surekha Sikri as Fayyazi, the grandmother of Riyaz. She brings up an oversensitive and fearful lady on the screen. She is older than her sister but then also she always has this unintentional habit of looking up to Mammo for certain big decisions. Her winning of National film award for Best Supporting Actress is well justified.

The chemistry that these three share on the screen is something that is rarely brought up on Indian Cinema. Though the film suffers from a little loop holes in plot and characters (sometimes), it is one of those films which make you forget about aesthetics and technicalities of filmmaking and just indulge with its lovable characters. Looking forward for more films like this.

MESSAGE: 'Life is Beautiful'

VERDICT: 'A recommended watch.'

Shyam Benegal's Mammo is an account of a certain period in the life of Riyaz, a teenager who lives a poor lifestyle with his grandmother Fayyazi as they get a visit from his grandma's sister Mehmooda Begum Anwar Ali, commonly known as 'Mammo'. Mammo was born in Panipat during the British Raj, but she was one of those many Muslims who left for Pakistan after partition, automatically becoming Pakistani citizens. After the death of her beloved husband, Mammo is thrown out of the house by her relatives, and having nowhere else to go, comes to live with her widowed sister in Bombay on a temporary visa. Lots of things change while she is there, Mammo is loud, vivacious, opinionated and funny, and she keeps everyone on their toes. Initially unhappy with her presence, Riyaz learns to love the old lady and ultimately gets very close to her.

Mammo is a brilliant film, superbly written, directed and acted. It is both entertaining and touching. Shyam Benegal is as already known a true master of his craft. He keeps everything so real and authentic. The film's dialogues and script are exceptional. The relationships are portrayed wonderfully, and Benegal must be applauded for his simple and natural presentation of the three characters and their everyday struggles, through which we get to know of their stories and life experiences. Benegal skillfully captures the atmosphere of those times; the music, the streets, the films, everything is so realistically depicted. At times it felt like a real documentation of a period of time in the lives of these three people. The movie has drama, comedy, and many moments of joy, happiness and rage we all are familiar with.

The story unfolds as seen through the eyes of the young Riyaz. Benegal shows us in minute detail who Mammo was, and clarifies why Mammo occupied such a special place in Riyaz's heart. She was not only a mother figure to him, she could be a friend, a confidant, a spiritual teacher, and generally just a person who could be counted on anytime. Everyone would want to have an aunt like Mammo, an open-minded, honest and straightforward person, who is both funny and likable. I cannot forget the scenes in which she caught Riyaz smoking and promised him to keep it between them or the scene in which she herself asks him to light a cigarette for her and starts smoking. Another memorable scene is the one where Fayyazi gets mad as she finds out porn magazines in Riyaz's closet while Mammo reacts naturally to this, with complete understanding that the boy is now grown. This is such an amazing character.

I can really see why Khalid Mohammed wanted to immortalise Mammo by making her the central character of a feature film. It is partly a comic, partly a dramatic character, and it is just a very inspiring one. She was not only a caring and unselfish person who was always willing to help, she was evidently a strong woman who knew how to take things as they come, live with what God had given her and thank him, and she also had the ability to call a spade a spade and frankly tell her opinion about a person directly in his face. This can be seen in several scenes such as the one in which she attacks her sister Anwari for stealing her and Fayyazi's property. One more scene is the one in which she preaches housemaid Shantabai's husband for drinking and abusing his wife.

But the main reason Mammo will always be remembered is Farida Jalal. This is not only one of her finest performances, this is according to me one of the greatest performances by an actress in a leading role in Hindi cinema. Jalal's portrayal of Mammo is marvelous from start to finish. She is amazingly natural and plays her role with soul, depth and humour, making Mammo so easy to relate to and so easy to like. One can really see the pain in her eyes as she reminisces past incidents, and yet her way to accept what she has and move on is admirable. I cannot see anyone but Jalal in this role. This is an unforgettable performance. Surekha Sikri as the worried and caring Fayyazi is nothing short of excellent, and she too manages to move you in many of her scenes. Amit Phalke plays the young Riyaz exceedingly well, and so does Rajit Kapoor playing the older version of this role.

Mammo is not only an impressive piece of art, it is also a fantastic entertainer which would be certainly enjoyed by the entire family. One has to note Jagjit Singh's wonderful Ghazal which can be heard from time to time. In a few words, Mammo is another masterwork by the great Shyam Benegal - a haunting, moving, involving and riveting tale of one little family. This is a true cinematic experience, one gem of a movie.

Shyam Benegal does it again.. with slow pace and original lighting - with it, without it, in-spite of it the director cum story writer conquers hearts at will. Without poetic dialog and without any song and dance sequence, Mr. Benegal is able to do what most other people haven't quite succeeded. Show to someone who doesn't know anything at all about the Partition - not why it occurred (now this is no political commentary) but rather what came out of one of the most painful episodes in the history of India. Mammo basically manages to paint a picture of the emotions - estranged ones go through. It shows, what happens when people and places we take so often for granted... become lost forever..

Shyam Benegal and Khalid Mohamed create a tender, beautiful account of a Muslim boy's childhood in post-partition India.

On the surface this is the story of a woman like millions others, uprooted by partition - probably the greatest tragedy of our times - trying to get back to her roots. Mammo absolutely refuses to let any politician take away from her what makes her life worth living - her sister, her grandson and her city.

On another, more charming level, it is a lovingly detailed depiction of the world seen through the eyes of the adolescent Riyaz. A sense of shame for one's background, the first time one was moved by poetry (for Riyaz its Kahlil Gibran), a budding fascination with the world of cinema, first experiences with cigarettes and porn, its all there. The atmosphere is made rich by references to Beethoven, Faiz, Gibran and movies like Psycho, Bobby and Garm Hawa.

Farida Jalal and Surekha Sikri turn in great performances. There is a beautiful ghazal sung by Jagjit Sing and written by Gulzar that adds depth and poignancy to the film each time it plays. Gulzar fans will value the use of his jolting story 'Ravi Paar'.