How Madhuri Dixit-Triptii Dimri's 'Maa Behen' is an acerbic anthem on misogyny

“Daayan”. “Chudail”. “Vaishya”. “Chhichhori”. “Massage queen”. “Husband killer”. “Rekha ka dekha”. In Maa Behen, the list of slanders that Rekha (Madhur Dixit Nene) is subjected to is endless. There are multiple urban legends of her exploits in the locality—true or not is up for debate—but director Suresh Triveni and writer Pooja Tolani make one thing clear from the onset: Rekha is a single parent who has raised two daughters, Jaya (Triptii Dimri) and Sushma (Dharna Durga), on her own. That the daughters too believe some of these rumours around their mother is a source of laughs, not tension, in the film.

Perhaps there’s no more complex relationship than mother-daughter. Surprisingly, it’s an unexplored dynamic in mainstream Hindi cinema, and Maa Behen dives into it with a distinct, quirky approach. There’s distrust, finger-pointing, screaming contests and constant reprimanding from both sides.

Rekha listens, mediates and occasionally retorts; the elder Jaya (Triptii in a fine performance), miserable in marriage and overburdened with domestic chores, directs her suppressed rage by playing violent video games; and Sushma, seeking validation and attention, turns to social media for it. Simply put, the trio cannot stand each other.

Triveni and Tolani remind audiences that perhaps there’s no deeper, more powerful bond than between mom and daughters. At no point do they want to project the women as holier-than-thou figures. In fact, there’s an effort to make them unlikeable, with the choicest of words rolling out of their mouths and with them laughing uninhibitedly.

Madhuri, in particular, takes time to embrace the high pitch and fast rhythm of the humour here. It treads the fine line between over-the-top and cringe, and initially not all jokes land as the three women are brought together to dispose of the body of a neighbour (Ravi Kishan).

Maa Behen takes its own sweet time to find its tempo and make the sharp, pertinent remarks about how patriarchy and misogyny are so embedded in our society that they have clouded our judgement and distorted our perception.

Sleeveless blouses are markers of rebellion here. Opinions are framed and spread like wildfire. More than a he said-she said narrative, this is a they-said-and-said approach. It’s like watching Salem Witch Trials unfold in a neighbourhood that’s familiar and lived in. When the film delivers its verdict, it does with a bang, with both Triptii and Madhuri nailing two scenes in the finale crafted for much-needed catharsis.

There’s also an abundance of talent in the supporting cast, with both Geetanjali Kulkarni and Shardul Thakur (of Eeb Allay Ooo! fame) shining in their parts. Kulkarni plays the wife of the missing neighbour with great mischief, and Thakur is a delight as Jaya’s entitled husband who believes she exists to serve his needs. Dharna too stands her ground amidst an experienced ensemble in what’s her first major role.

There’s a line in Margaret Atwood’s The Testaments: “Nothing is more powerful than a teenage girl.” Maa Behen expands that powerful statement—nothing is more powerful than a woman who endures and stands up for herself.

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