Sridevi’s husband Boney Kapoor collected the late star’s Best Actress prize at the Indian International Film Awards (IIFA), held in Bangkok on Sunday night. Sridevi won Best Actress (posthumously) for her role in 2017 film MOM, in which she played the role of a mother seeking revenge for her daughter’s rape. For the same film, she was honored with her first ever National Award this April. “She was the queen of grace and worthy of every praise. There’s no doubt the award for performance in a leading role female posthumously goes to late Sridevi,” read a post tweeted by IIFA’s Twitter account. Actress Kriti Sanon gave away Sridevi’s Best Actress trophy to Boney Kapoor.

boney and sridevi

“Sridevi would have been very happy today. We miss her, it is a very proud moment at the same time,” said an emotional Boney Kapoor. On Wednesday evening, Boney Kapoor, Janhvi, and Khushi went to Vigyan Bhawan (the venue) for rehearsals. “She would have been happy, very happy being here. We feel elated, proud that she’s been recognized for the hard work she’s put in in this film,” added Boney Kapoor.

Sridevi died at the age of 54 in Dubai. She started her career as a child artist when she was just 4 and worked in 300 films in her entire career. Boney Kapoor, who made many films with her added, “She’s worked her for almost 50 years and done good 300 films and got many awards but this tops the list.”

The 65th National Awards ceremony was held in New Delhi’s Vigyan Bhawan on May 3. President Ram Nath Kovind, who attended the latter part of the ceremony, presented Sridevi’s Best Actress National Award to her family Boney Kapoor, Janhvi, and Khushi and Vinod Khanna’s Dadasaheb Phalke award to his son Akshaye and wife Kavita. Except for the last 11 categories, the awards were handed out by Information and Broadcasting Minister Smriti Irani and other government officials.


MOM has other assets, too, not the least of which is the outstanding quality of the performances that first-time director Ravi Udyawar extracts from his cast. Add to that cinematographer Anay Goswamy’s adroit lensing and lighting, and you have a film that is consistently compelling. The visual compositions, an evocative interplay of light and shadows, create the palpable crevices of darkness where evil is afoot and resolute acts of defiance are plotted and executed. If there is any major grouse one has with MOM, it is with the editing. It’s overly indulgent. The result: the film is 15 minutes too long.


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