The Chembur Mami's Dilemma

The Chembur Mami is unique and can be spotted around Chembur Railway Station, Diamond Garden, The Fine Arts Society Building, Ahobilam/Shringeri mutts, Subramanya Swamy Temple in Cheda Nagar and the adjoining areas of Deonar, Ghatkopar, etc. Hailing mostly form Palakkad in Kerala, the Mami is middle aged and educated and happy running her home. Her ubiquitous presence in the Katcheris, marriage receptions and other religious and social functions in bright kanjivarams and dazzling diamond ear-tops and conversing in Malayalam accented Tamil, loud enough to be heard by others, is the only solace to the otherwise dullness of these events.

Conversant with modern gadgets like the cell phone and the internet and smart enough to negotiate for a better deal in the redevelopment of the flats in her housing society, she is the brain behind the family investments in gold (ornaments), apartments and stocks , in that order. Yet her identity is linked to her husband’s whose name is suffixed to the company he works(ed) for, like Godrej Mani, Ponds Seshan, etc. Modern though in most of her beliefs, she is prone to set the dress norms for her daughter with more liberalism than for her daughter-in-law. However, if the latter transgresses the norm, she would rather complain to Mama than talk to Mattuponnu. In this as well as in other matters regarding values and practices, the Chembur Mami prefers to remain old fashioned, but discreet enough not to voice her disapproval in the open.


Of late, the Mami is in a dilemma of sorts. Like most other Chembur Mamis, she too has seen the film The Dirty Picture (TDP) in the company of Mama and liked “Namma Chembur” Vidya’s superb playing of the difficult character of a misdirected film personality of the 80s, bringing in all the emotions of joy, success, frustration and anger. At the same time, some scenes where Vidya is seen in very intimate proximity to male actors is anathema to Mami’s views on morality and public behaviour. While Mami is proud about Vidya’s talent and has no objection to her taking to acting in films, though a rather unusual career for a Chembur Tamil girl, she expected that the roles were decent and good as in Pa and Parineeta. But what irked the Mami most is that in TDP, Vidya has thrown all decency of dress and public behaviour to winds. So, the Mami’s dilemma is: should she admire Vidya as in the past for her acting or should she condemn the actor for transgressions of the dress and decency norms.

For a change, Mama was asked for his opinion and he took a carefully considered stand saying that the objectionable scenes and Vidya’s dress in them were warranted by the character of Silk that was portrayed in the film. Mami is even more confused and so her dilemma continues.