While watching Mimi, my initial impression was that the film’s director lacked the courage to explore deeper themes. As the story unfolded, it became evident that the emotional core of the film was underdeveloped, portraying a woman’s journey from a surrogate to a selfless mother who sacrifices her dreams. The film seemed to uphold traditional beliefs while discouraging individuality. Addressing pregnancy, a highly personal subject, with a one-size-fits-all approach and moralizing it appeared to be a futile exercise in sentimentality.
Mimi, intended to delve into the complexities of commercial surrogacy, ended up leaping into the realm of pro-life versus pro-choice, and later touched on global orphan statistics. The narrative lacked impact, bouncing from one subject to another like a weightless object in zero gravity.
The fact that the director resorted to manipulative tactics to evoke empathy for Mimi suggested a lack of deep understanding and empathy for those facing similar struggles. The film’s opening scene, depicting an American couple seeking a surrogate mother in India, brought to mind the 1989 Malayalam movie Dasharatham, which explored surrogacy complexities long before it became a booming industry in India. Dasharatham surpasses Mimi in artistic merit, skillfully portraying the impulsive choices of a character named Rajiv Menon, played by Mohanlal.
In Dasharatham, Rajiv is established as a rich, reckless, and emotionally troubled loner with a serious drinking problem. The film effectively builds empathy for him without resorting to manipulation, offering a case study on character traits. Rajiv, at 32 and unmarried, develops a desire to be a father after spending time with his friend Scariah’s children. Unable to adopt, he considers surrogacy, facing societal challenges in conservative India.
Dasharatham, set in the late 1980s without legal backing for surrogacy, weaves legal obstacles into the script, adding to the drama. Annie (played by Rekha) agrees to be a surrogate for Rajiv due to her husband’s critical surgery needs. Despite her initial reluctance, Annie’s perception changes after giving birth, leading to a dramatic conflict with her husband.
While dealing with a heavy subject, Dasharatham maintains a playful tone, capturing the humor in Lohithadas’ script. The film skillfully navigates the conflict, allowing viewers to empathize with both Rajiv’s pain and Annie’s emotional dilemma. Unlike Mimi, Dasharatham doesn’t force viewers to take sides, creating a nuanced and satisfying conclusion.
In conclusion, the comparison with Dasharatham highlights the potential for deeper storytelling and nuanced character development that Laxman Utekar could consider in his future work.