The blandness of the script and the just about passable performances make Mercy a wearying watch, particularly since the complexities of euthanasia are not adequately explored, observes Deepa Gahlot.
Key Points
- Mercy attempts to address the sensitive topic of euthanasia, focusing on a son's internal conflict over his comatose mother's life support.
- Despite the legal acceptance of Living Wills and DNR forms in India, the film's protagonist views stopping life support as murder, leading to family conflict.
- The narrative is criticised for padding its runtime with vaguely connected incidents rather than deeply exploring the ethical and moral complexities of euthanasia.
- Performances are described as passable, and the script's blandness contributes to a 'wearying watch' due to the inadequate exploration of the subject.
- The film ultimately takes an 'easy way out,' avoiding a profound engagement with the difficult decision of euthanasia and its implications.
Even in India, Living Wills are legally accepted and Do Not Resuscitate forms are available at hospitals for relatives to decide on stopping life support when the condition of the patient seems beyond cure; many countries offer the right to die with dignity, so the sanctity of life debate has moved to a different level than a merely a moral right or wrong. Which is why, the well-meaning Mercy, written and directed by Mitul Patel, flounders like its protagonist who, despite all opinions to the contrary, believes that letting his comatose mother die is akin to murder.
Shekhar's Dilemma and Family Conflict
Shekhar (Raj Vasudeva, also one of the producers), is close to his mother, Sujata (Aparna Ghosal), and estranged from his brother Vihaan (Kunal Bhan), who, seems to be wasting his life and the family's money on failed schemes.
Shekhar's wife Jiya (Niharica Raizada) is pregnant, and the family is looking forward to the baby. Sujata has a fall that lands her in hospital in a coma, with no hope of recovery, according to the doctor. But even a mention of removing life support sends Shekhar into a rage, and he accuses his wife and brother of being akin to killers.
Missed Opportunities in Exploring Euthanasia
There is not much to debate, really, so the film's runtime is padded with incidents that are vaguely connected to the subject of euthanasia -- like a young Shekhar not being able to forgive his mother for putting his dog down after a car hits the animal; or his dialogue with a too wise for his age urchin (Sarthak Joshi), who looked after a street dog and revived it from the brink of death.
Even Shekhar's confidant, a Catholic priest, Father Joel (Adil Hussain), going against the tenets of his faith, does not see the issue in stark black-and-white, but as one of hoping for a miracle.
Superficial Treatment Of Profound Subject
The film opens with a Tagore quote: 'Death is not extinguishing the light; it is only putting out the lamp because the dawn has come,' which is a profound as well as pragmatic view of death, a concept the film does not even get near to exploring, leave aside achieving.
Shekhar is willing to discuss his painful dilemma with Father Joel (it is possible but not common for Hindus to routinely go to church or talk to priests), but with his family, he comes across as abrasive and unreasonable.
Incidentally, in Indian culture there is the concept of ichha mrityu and Jains have a ritual fast-unto-death that is accepted.
Critical Reception and Conclusion
Far from exploring the ethical, moral or emotional issues, the film eventually takes an easy way out that absolves Shekhar and his family from bearing the guilt of an undoubtedly tough decision. The blandness of the script and the just about passable performances, make Mercy a wearying watch, particularly since the complexities of euthanasia are not adequately explored.
Mercy Review Rediff Rating:
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