A Film of Bold Ambition and Glaring Flaws
In a bold attempt to merge two distinct genres, the new film ‘MAA’ presents itself as a one-of-a-kind mythological-horror experience. The film is built on a foundation of strong performances and an intriguing premise, yet it is ultimately undermined by glaring technical shortcomings, inconsistent writing, and a deeply problematic conclusion that leaves a lasting negative impression. It’s a film that reaches for greatness but is pulled down by its own execution.
The story follows Ambika (Kajol), a woman living a modern life in Kolkata with her husband, Shuvankar, and their daughter, Shweta. Shuvankar has deliberately severed all ties with his ancestral village of Chandarpur, a mysterious place his daughter is desperate to visit. When his sudden and strange death forces the family to confront his past, Ambika and Shweta travel to the village to handle the sale of their ancestral property. Their arrival awakens a sinister, ancient presence tied to the land and its dark history. What begins as a simple real estate transaction quickly descends into a desperate fight for survival, with Ambika fighting to protect her child from a terrifying force.
Director Vishal Furia succeeds in creating a genuinely eerie and unsettling atmosphere, which is one of the film's primary strengths. He uses the village setting effectively, making the isolation and ancient traditions feel threatening. The narrative, centered on a mother’s fierce protective instincts, has a universal appeal that resonates deeply, making the horror elements feel personal and grounded. This emotional core is anchored by a powerhouse performance from Kajol, who is especially fiery and compelling in the film’s climactic sequences. She masterfully portrays Ambika’s transformation from a grieving widow to a ferocious protector, proving once again why she is considered one of the finest actors of her generation. The supporting cast is also commendable, with Ronit Roy delivering a surprisingly nuanced and accomplished performance that stands out as one of his best.
Unfortunately, these strengths are not enough to overcome the film's significant weaknesses. The most noticeable issue is the visual effects. While effective in some key moments, the VFX is largely poorly done and unrealistic for much of the film. This inconsistency repeatedly breaks the carefully crafted tension and, in some scenes, may even lead to unintentional laughter, pulling the viewer out of the story. The screenplay, while riveting in parts, is also messy and features several developments that feel silly and illogical, straining credibility even for a horror film.
However, the film’s greatest failure lies in its climax. After an arresting and well-staged final fight, the story continues with a very last scene that feels entirely out of place and tonally jarring. This concluding plot point is not only unnecessary but also fundamentally contradicts the film's central theme of maternal protection and even its title, leaving the audience with a sense of dissatisfaction and confusion. While the story commendably touches upon the significant, often taboo, subject of a girl's first menstruation as a plot driver, its final execution is unacceptable and feels like a betrayal of the narrative.
In conclusion, ‘MAA’ is a film of considerable ambition that stands out for its unique genre blend and powerful acting. However, its potential is never fully realised, crippled by poor technical execution and a baffling narrative choice that sours the entire experience.
