Bent on approaching a more exclusive industry that explored the creativity, talent and originality of the Ghana Movie Industry, Abdul Salam Mumin’s ‘Mummy’s Daughter’ was a decent bow that helped raise the curtain further.
With a too-good cast ensemble that merged the tried and tested Jackie Appiah and Van Vicker with the newest screen beloved Nadia Buari, ‘Mummy’s Daughter’ neatly interpreted the life of a dutiful daughter Anita (Buari) whose efforts at pleasing her stepmother (Kalsum Sinare) was not appreciated.
Intensifying the stored-up tension of the family drama was a romantic attachment invested into the storyline to help equip the plot with much public interest (who dislikes a romantic fall out?).
Anita had to sacrifice her love interest Fred (Van) for the sake of her younger step-sibling Princess (Jackie) who was also romantically attracted to Fred. The loose sibling rivalry that accompanied the film’s silent twist and turn made way for a much delicate societal subject such as love quenched its empty chaotic family feud. Anita and Princess were much more open to the idea of a lasting family relationship than a romantic struggle and battle for an outsider all in the name of love. Sisterhood, respect and consent were the visible threads that expanded the film’s narrative.
Buari was an instant hit upon the release of the film. Her emotionally charged character was a well-received envelope that scored her an imprint inside the growing pages of best actresses in the local movie industry. She was totally in a different scope of character formation as against her previously done project ‘Games People Play’. Her vulnerability at the start and self-improvement at the end premiered her as a promising lead performer capable of balancing the chords of power and helplessness (binge watch ‘Beyonce’ and ‘Darkness of Sorrow’ for clarification).
Appiah and Van were very much in their laid-back elements thanks to the script’s lack of character advancement for both. Sinare is an obvious screen stealer when it comes to shedding tears and sorrow and as such executed her part without much effort.
The collaboration between Salam (Producer) and Frank Rajah Arase (Director) was effective as both parties were hungry and eager for a solo movie industry formed on its own merit and strength. Their later projects were proof of a mastered craft serving the purpose of the beginning.
From casting to directing, ‘Mummy’s Daughter’ in totality held a careful balance in between experiment and stability.
