Madhuri, Triptii, and Dhaarna make a ‘killer’ trio in this wickedly entertaining dark comedy 

There’s something wonderfully deceptive about Maa Behen. It is a quirky comedy based around crime and involves a body, a panicked family, and a series of messy decisions. But at its centre is a powerful story about women being judged and the odd burden of being under a microscope from society. 

Maa Behen is directed by Suresh Triveni, the man behind Tumhari Sulu, and he has once again found humour in ordinary lives thrown into extraordinary situations. The premise of the story is simple but entertaining: Rekha (Madhuri Dixit), a widow who lives in a conservative neighbourhood, is faced with the daunting task of cleaning up after the death of her nosy neighbour Guptaji (Ravi Kishan). After she is panicked, she calls her two daughters, Jaya (Triptii Dimri) and Sushma (Dhaarna Durga), to come home. From there, the three women go on an adventure trying to find out how all this occurred, what they should do now, and how long they will be able to get along with one another before they have to deal with the situation. 

The strongest aspect of the film is its ability to surprise you along the way. The murder mystery is a vehicle that drives the story forward, but Triveni’s focus is actually the complicated relationships between the mother and her two daughters. As a result of the changing genres, the screenplay oscillates quite a bit between comedy, thriller, and family drama, but is still interesting because it has a strong emotional centre that feels genuine to you. 

Triveni has a very relaxed direction style, allowing the characters to feel like real people instead of being overly theatrical in their efforts to generate laughs. He also does not give in to the urge to make this movie “loud” or “slapstick”, building comedy off of how each character interacts with the others. At times during the mid-section, the rhythm of the story starts to fall off just a bit, and some of the reveals do not carry the weight that they should; however, the strength of the entire movie will keep you interested in watching. 

Madhuri Dixit is clearly having a blast as Rekha. She brings to the character warmth, quirkiness, and an element of surprise. While she could have easily taken this role from caricature to something more realistic, Madhuri adds so much depth to this woman, a woman who faces a great deal of judgment simply for living life on her own terms. Madhuri’s presence is powerful enough to keep you fixed on the screen even if they did falter throughout the film. 

Triptii Dimri delivers what is arguably the film’s most nuanced performance as she portrays Jaya, who, after carrying resentment for many years, is portrayed as both restrained and vulnerable. Triptii has a genuinely better comic timing than expected and has also been able to deliver many of the most satisfying moments in the movie from an emotionally effective standpoint. Her performance will also remind audiences of why she remains one of the most dependable young actors working today. 

Then, there is Dhaarna Durga, playing the role of Sushma, Jaya’s younger sister, and she has become one of the best surprises of the movie. Dhaarna brings an incredible amount of energy and irreverence to her character, as she acts well and holds her own against two very accomplished actresses, and brings a refreshing level of spontaneity to the scenes she shares with Madhuri and Triptii. Ultimately, what makes the movie so great is the chemistry between the three actresses. 

The supporting cast has also done a great deal to help create this colourful world. Ravi Kishan is memorable despite limited screen time. Geetanjali Kulkarni, Shardul Bhardwaj, and Arunoday Singh have done a very good job with their interesting characters. No character felt too insignificant, even though some characters could have benefited greatly from additional story development. 

Musically, the film doesn’t rely on chartbuster moments but uses its background score smartly. The way the music interacts with the quirkiness of the film enhances the film’s tension and comedic balance through its musical style. The cinematography has done an effective job in depicting the claustrophobic sense of the individuals living in a small town as an entity (i.e., neighbourhood), one where everyone is watching, judging, and gossiping. 

What truly elevates Maa Behen is its underlying commentary. While providing the viewer with laughter and mystery, it subtly points out how women are perceived, scrutinised, and ultimately blamed for merely existing above the expectations of the established social order. And it does accomplish this without becoming overly preachy. 

Maa Behen is not without its faults; there are instances where the film’s pacing is erratic, and the conclusion fails to fully explore its build-up. However, the quality of its three lead performers, the clever, witty, and sincere humour all contribute to making this both an entertaining experience and a surprisingly moving one. 

Sometimes, the best crime comedies aren’t really about the crime at all. Maa Behen understands that, and it’s better for it. 

Rating: 3.5/5