Spoilers ahead…
Mary Kom opens with a note that says this is “based on” the boxer’s story, so we know we’re in not for the truth but for a version of the truth, shaped by the expediencies of drama. And then, we are plunged into drama. We are in Imphal. Mary (Priyanka) is in labour, and her husband Onler (Darshan Kumar) is escorting her to the hospital. And everything that can go wrong goes wrong. It’s raining. There’s a curfew. Men with torches are setting the streets on fire. When Onler discovers an abandoned rickshaw and tries to break the chain that tethers it, cops show up and begin to beat him, thinking he’s a troublemaker… If you are cynical, like Birdie in All About Eve, then you’ll be rolling your eyes, saying what she said: “What a story. Everything but the bloodhounds snapping at her rear end.”
There are essentially two ways to tell a story, a boxing story. One is to dive deep, into the character, into the psychology, the way Martin Scorsese did in Raging Bull. The other is to stay resolutely on the surface and just narrate a series of life events, like Rocky. Omung Kumar, the director, opts for the latter approach – action takes precedence over thought, and through this action we get hints about what the characters must be thinking. Mary’s motivations are presented to us through mirror events: she removes the trophies and medals she’s won/she replaces those trophies and medals; fans hound her for autographs/she’s on a bus where the man opposite her speaks of Mary Kom but doesn’t realise that she’s sitting right there, and her autograph becomes a way of re-establishing her effaced identity; the scuzzy manager of a street fight, on learning that she wants to participate, sneers that this isn’t a kitchen/after becoming a famous boxer, while being interviewed by a journalist, we see Mary in the kitchen and learn that she’s a great cook as well; while in difficult labour in the hospital, she thinks of her time in the ring/while in the ring, she thinks of her child in the hospital.
In other words, this is melodrama – not merely melodramatic, simply because the events are staged at a high pitch, but fashioned in the style of a melodrama and played (mostly) at an even keel, and my favourite scene came when Mary’s match is being televised, and her father (Robin Das) refuses to watch. He’s always been opposed to her passion for boxing (or boa-xing, as Chopra pronounces it). When Mary, as a young girl, finds a pair of gloves, he says, “Yeh ladkiyon ka khilona nahin hai,” and when she persists, he asks, “Tera naak muh toot gaya to tere se shaadi kaun karega?” This former wrestler (or race-ler) looks at her as a girl, a woman, and he cannot bring himself to applaud her achievements. In a different kind of movie, we may have been shown why – maybe, in a small way, he resents her international fame when his exploits in his sport were confined to a small village in a small state. But when people gather around the television set and cheer for Mary, his stubbornness gives way to excitement and perhaps even pride. She seems to be in a bit of a pickle. He yells at the TV screen, “Maar use.” As if hearing him, she lands a punch. She wins. Father weeps on this side of the TV screen. Daughter weeps on the other side. And as she looks at the TV cameras, she seems to be looking at him. A public moment becomes an intensely personal one. It’s no surprise that the film comes from the house of Sanjay Leela Bhansali, who is also credited as creative director. No other filmmaker, today, is as attuned to the nuances of melodrama.
The film sets Mary up against a line of men who become obstacles – and in true crowd-pleasing style, they all realise their “mistake” and fall at her feet, in a manner of speaking. There’s, of course, the father, who eventually asks for her forgiveness. Then there’s “Coach Sir” (Sunil Thapa; with his white whiskers, he reminded me of the gruff, wise trainers in the Shaolin movies), who refuses to take Mary’s ambition seriously, and later, when she decides to marry Onler, he warns her that she’s throwing her life away – and he too, eventually, comes around, strapping her twin infants to her back and announcing that motherhood has made her stronger. Then we have Sharmaji (Shakti Sinha), the corrupt official from the boxing federation who can make and break careers on a whim. He humiliates Mary, but by the end, he’s on his feet, cheering for her in a comeback match on the world stage.
You’d think that Mary, in her low moments, would have a female BFF to confide in – but no. So bent is the film on showcasing the hurdles in her life that even Mary’s supportive mother – who, again, in a different film, would have had more to do; it isn’t everyday that a farmer’s wife ends up supporting her daughter’s dreams of making it in a brutal, bloody sport – is shoved to the sidelines. Mary Kom isn’t just about Mary versus her opponents inside the ring; it’s also about this woman who prevailed over the many men who stood in her way.
And that’s why Onler comes across as such a surprise. He’s effectively the martyr-heroine of a 1960s melodrama, looking after home and hearth while the “hero” goes out and does his thing, making sacrifices for the greater good. He takes care of the children, he massages Mary’s back after a training session, and he tells her something I’ve heard no male character on screen tell his wife: “Apne baare mein socho.” He has assumed the role she’d play in a traditional Manipuri (or Indian) household, and he’s telling her to think about herself – not about him, not about the babies. And Mary is the film’s “masculine” presence. She’s stubborn. She flies off the handle. She’s not easily intimidated, not even by emotional blackmail. (Her father asks her to choose between him and boxing; she chooses boxing.) When Onler gives her a lift at night – it’s their first meeting – and his bike breaks down in a deserted spot, she tells him, “Don’t worry. Tu mere saath safe hai.” The line gets a laugh, but it also shows us how Mary never really thinks of herself as the “woman” in any situation. She even gets to participate in an amusing reversal of the scene where the wife is bathing and the husband knocks for some reason and ends up ogling at her nudity. Here, Onler is inside, and when he opens the door, Mary remarks that the water is probably cold. But this isn’t to say that her “feminine” side is neglected. She sings a lullaby for her children, and in that scene in the kitchen, she tells the journalist, “Mere haath ka khaake dekho.” Again, we laugh at the double meaning, but it tells us that this woman was comfortable enacting the traditionally accepted roles of both women and men.
Mary Kom doesn’t strive for greatness, and you always know what’s coming, but it’s eminently watchable. It doesn’t make the mistake that Bhaag Milkha Bhaag did – it doesn’t try to transcend the material, do a Raging Bull on a Rocky, which usually ends up looking ridiculous in the Bollywood context. It’s content being a generic Rocky clone, and though the against-all-odds arc is old, the newness comes from the fact that this is the story of a woman, that this is a big Bollywood movie about a woman, that she is a sportsperson, and the sport isn’t cricket, and the place isn’t someplace we usually see. In the first scene, a legend on screen informs us that this is Imphal (Manipur) – when was the last time you saw a film that felt the need to tell us that the events were set in “Mumbai (Maharashtra)”?
The first half moves as fast as Mary’s punches. The director knows that this is a familiar story, so he doesn’t linger on scenes. One moment, Mary marries Onler. The next, she’s pregnant. Another time transition happens “Two years later.” But when the film stops to linger, it’s less successful. The Sharmaji character, who’s here to represent the evil bureaucracy, deserved, at most, a scene or two – but he keeps popping up to make Mary’s life miserable and he quickly becomes unbearable, a one-note villain in a movie whose heroine is already battling bigger villains like motherhood and hulking German boxers. Some scenes, like the one where Mary shaves her head, don’t make much sense, and some of the product placement (especially the “Iodex” line) is truly hideous. And at the climax, the film stops being a melodrama and becomes over-the-top melodramatic, which, given the relative “realism” earlier, is shockingly out of place. But Priyanka Chopra keeps us watching. She doesn’t look like Mary, but she looks the part. She’s done something to her eyebrows. There’s a dusting of freckles on her cheeks. She seems to have lost weight and trained – she looks like she could be doing these things inside the ring. Acting-wise, she doesn’t do anything she hasn’t done earlier, and her eyes keep pooling with tears too often, but this is what the film asks of her. There’s little point trying to be Robert De Niro when all you’re required to be is Sylvester Stallone.
KEY:
* Mary Kom = see here
* the All About Eve scene = see here
* melodrama = see here
* “Yeh ladkiyon ka khilona nahin hai” = This isn’t a plaything for girls.
* “Tera naak muh toot gaya to tere se shaadi kaun karega?” = Who’ll marry a girl with a battered face?
* Shaolin movies = see here
* “Mere haath ka khaake dekho” = refers to food… also to punches
* martyr-heroine = see here
* Tu mere saath safe hai = You’re safe with me.
* Bhaag Milkha Bhaag = see here
Copyright ©2014 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Hithesh Devasya
September 7, 2014
I found it extremely manipulative. The climax was tosh.
I am really appalled at the horrible brand placement in our films. This even beats the Chennai Express Nokia Lumia placement.
The problem I had with Mary Kom is that it doesn’t try even for a moment to overcome the generic montages. It moves from episode 1 to episode 2 and doesn’t bring anything fresh. Onler is a surprise but he has effectively taken over the role of the supporting spouse, the lesser talented one that we find in the sports movies.
For a sports-drama, it didn’t have any tension in the ring which is extremely sad. There’s “42”, the movie about Jackie Robinson, the first black baseball player in the Major Leagues. It is generic but there’s a tension in the games, the feeling that he grows with each game. There’s no such development in Mary Kom. The character never really grows.
It is manipulative and never really celebrates or chronicles the boxer or person that Mary Kom is. Just a genre dumbing experience.
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ramitbajaj01
September 7, 2014
1. Are you sure that the opening pegnancy drama didn’t happen in real?
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ramitbajaj01
September 7, 2014
In Mohra, Raveena knocks at the bathroom door where in Akshay is taking bath and teases him.
In Mardaani also, there is a reversal of man-woman roles. When Shivani sobs on seeing her pyari Pyari’s finger, her husband says “chhodna mat use” instead of the usual, “chhodunga nahi usse”.
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Utkal
September 7, 2014
I found it very flat and was generally unmoved. Looked like, it was strung together completely from newspaper clippings ..with zero contribution from the imagination of the director or writer’s imagination. Priyanka had no chance given the script she was given, she played the standard Hindi film heroine; teary-eyed in misfortune, coy with her lover-husband and fiery while fighting the bad treatment by villainous government officials. The boxing scenes were so badly choreographed and staged, we feel no thrill of a sporting event. Between bouts of naps, I kept imagining, how much more I would have enjoyed a well-made documentary featuring the real Mary Kom and the real Manipur with file videos of the actual matches! If they had to do a melodrama, trying to capture the trials and triumphs of Mary Kom, the person, I thought Bhag Milkha Singh had already shown how it should be done.
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Utkal
September 7, 2014
The songs and the background score brought the film down further. Both were generic, loud and without any individuality or imagination. A more orchestral score and songs with an ethnic tinge would have served the story so much better.
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ramitbajaj01
September 7, 2014
In this movie, the ending left me wanting for more. Maybe they should have added a placard at the last saying ” the movie has ended. You may leave now” lol.
overall I found the movie very inspiring. Indeed better than BMB.
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ramitbajaj01
September 8, 2014
Was her father a former boxer? I didn’t catch that in the movie. Which scene?
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brangan
September 8, 2014
ramitbajaj01: Maybe the pregnancy drama happened for real. I was just saying that even if it hadn’t, that scene would be par for the course for this movie.
And yes, I should have mentioned “Mardaani” in this review, because this film takes that reversal a step further. There, the husband was just an enocouraging guy. Here, he says, “Apne baare mein socho.” (In other words: Be selfish. I’ll take care of the house, the kids.) In “Mardaani”, it was just “go do your job” but here it was “go follow your crazy dream.” That’s quite amazing.
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FlutterBy
September 8, 2014
Despite packing a lot of content, a range of difficult situations and humor, the film did not hook me emotionally. It moved from one instance or event of her life to the next almost like a documentary, except without a voice-over. Perhaps it needed to have pauses or a higher pitch in some other places rather than the Sharma episode for it to make that connection, or perhaps that just wasn’t the goal of the film. For me, Bhaag Milkha Bhaag made a better connect on first watch. The brand placement, especially in the final match was extremely annoying. Did Mary Kom’s baby’s surgery actually take place in Gurgaon?
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SriWatson
September 8, 2014
I felt it was absolutely flat , Bhaag Milkha Bhaag was much much better !!! And are you serious that the father scene was your fav ?? I was like WTF , we are back to stone age canning such ridiculous scenes . And the climax, OMFG a sports biopic having such insanely thought out climax
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Sumit
September 10, 2014
Off topic, Mr.Rangan, but it’s been quite some time since you reviewed Hollywood films (save for the odd Grand Budapest Hotel.) Why so?
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brangan
September 10, 2014
Sumit: It’s just time. Earlier, I was the English film reviewer for the paper, so I’d catch everything. Now I’m the Tamil film reviewer, and apart from that, I just have time to catch the Hindi films for review on the blog.
Also, there hasn’t been much that’s exciting after “Budapest,” right?
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MANK
September 10, 2014
Brangan, how about ‘Snowpiercer’ and ‘Guardians of galaxy’. Have you seen them?. i found them to quite different & exciting.
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Vishak Bharadwaj
September 10, 2014
Seeing The TCM clip reminds me Mr.Rangan,
Do you have TCM on your TV? I’ve been trying to get it but I’m clueless who provides it. help?
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Bunny
September 11, 2014
BR: A bit disappointed with your subject of the review: “Not so much a biopic as a sturdy melodrama”. It’s more like a summary you used to write in bold letters before your reviews — but not a subject. Sorry to be nitpicky but then you have set high standards for your reviews.
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Cinemakkaran
September 11, 2014
On that thought which is the best Indian sports movie. Is there one that qualifies purely as a sports movie ?
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Rahul
September 11, 2014
Cinemakkaran , from what I have seen, Aadukalam is the best.
To answer your other question, In my opinion, it is not worthwhile to get too pedantic about it. If sports is one of the major themes of the movie, then it is a sports movie, even if it may not be the only major theme. For example, I would count Paan Singh Tomar as a sports movie , but Shatranj ke Khilari I would not.
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brangan
September 12, 2014
Vishak Bharadwaj: Nope, I think cable providers had it earlier, but no one seems to have it now.
Bunny: Am trying to summarize my feel of the film in the title. The fun/punny titles, earlier, were… well, fun to think up and all that, but now I think I want to try this for some time.
Cinemakkaran/Rahul: To my mind, a “sports movie” is a pure genre movie, like a rom-com is a genre movie — that’s why “Aadukalam” does not qualify. That’s a good “drama” and it transcends the rather simplistic arc of a mere “sports movie.” I’d say “Chak De India” is more a “sports movie.” In Tamil, I’d say “Edhir Neechal” is more a “sports movie” (though it kinda winds its way into other territory).
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Srinivas R
September 12, 2014
BR , my 2 cents abt title , I undertsand you want to summarize the feel of the movie, but can’t a “Punny” title achieve that? I think your titles always sum up the general theme / feel of the movie regardless of the pun/alliteration. e.g. Thirumanam ennum Nikah was titled Wedding Woes , which kind of sums up that its a Woeful movie about wedding.
I really feel your titles are a stand out ( among other blog reviews), so the reviews lose some thing when the summary/title is bland ( all my personal opinion , of course)
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