Mallika Prasad on Bringing Ammaji to Life: The Quiet Power Behind Mardaani 3’s Fiercest Villain

The film’s antagonist, Ammaji, does not rely on loud threats, dramatic outbursts, or exaggerated theatrics to seem powerful; instead she is calm, controlled and completely aware of her power. Her presence commands respect in a brutal underworld without needing to announce itself.

The "Mardaani" franchise is known for its memorable, and larger than life antagonists, and among them, Ammaji carves out her own myth.

This complex and layered character has been portrayed by Mallika Prasad, an actor known for her commitment to her craft with extensive work across theatre and screen.

In this interview with Deccan Chronicle, Prasad reflects on building a larger-than-life antagonist while keeping the character emotionally real and believable. She further opens up on navigating audience reactions to a deeply unsettling character, and why exploring the darker shades of human nature continues to challenge and excite her as an actor.

My first reaction was excitement, although I can’t clearly recall the exact thought in that moment. I remember feeling very happy to be offered the part. It was actually Mr. Aditya Chopra who asked me to do it. He said, “I think you’d be really good for this. You should play this part.” That meant a lot to me, and I felt deeply moved.

Amma’s character is fascinating. Even during my first audition, her entry scene felt remarkable and powerful. I knew then that this role was something special.

I’ve been an actor for many years, and one thing that comes instinctively to me is discovering the physicality of a character. I start with the body as in how she stands, moves, and occupies space. From there, her breathing pattern emerges, and eventually, her voice.

It’s usually a holistic process where all the senses are active at once. You imagine the character globally i.e; physically, emotionally, psychologically, and once you “hit the note,” everything else starts falling into place. That tone then defines the character.

I hadn’t previously played a character that was so larger than life, and that was very exciting. What makes Amma especially interesting is how others treat her. That treatment elevates her into this formidable presence.

“Amma” isn’t her real name, it’s a title. No one is named Amma at birth. It’s a title she has acquired. The fact that she earned such reverence within a mafia world, particularly one involved in the trade of beggars, was deeply intriguing to me. That entire underworld was fascinating.

I drew inspiration from both classic literature and popular cinema. Building Amma as a larger-than-life figure was challenging but extremely rewarding.

I love that people are calling her “Ammaji” with respect. Initially, nobody used that title, so it’s interesting, and quite funny, that the character has now acquired a certain reverence.

What stays with me most is when people say, “You scared us. We hated your character, but we loved what you did on screen.” That paradox of being repulsed by the character but appreciating the performance is very meaningful to me as an actor.

For starters, I don’t try to “fit in.” It’s easier for me to approach a character afresh rather than compare myself to what has come before. Thinking about matching up or living up to previous performances can create unnecessary pressure, and that can interfere with the creative process.

Both actors did a wonderful job and created very memorable characters. They deserve full credit for that. Each character in the franchise has its own journey beyond the film itself. I believe Amma will also fall into that category, and I’m grateful for that.

That’s a very good question. I try to approach both praise and criticism with discernment. Some feedback is simply meant to be received, you don’t need to respond to it. Other criticism can be useful because it may show possible directions for growth.

The same applies to praise. If someone appreciates your work but doesn’t explain why, it’s hard to understand what specifically resonated. So I try to reflect on both criticism and praise carefully, take what is useful, and leave the rest.

It’s a small salute, yes, but it wasn’t something I consciously set out to replicate. The image of Joaquin Phoenix dancing on the staircase in New York stayed with me. That grungy, raw moment left a strong impression.

That said, the movement in the film also emerged organically from Amma’s body. She’s a woman of the street. It’s not a choreographed “dance” in the traditional sense; it’s more like her body responding to a feeling, perhaps the feeling of having succeeded. So yes, there’s a subtle salute, but it grew naturally from the character.

No, it wasn’t deliberately planned as a tribute. But I did have that image in mind while preparing for the scene.

As storytellers, we are often drawn to exploring the darker shades of human nature. Doing so in a safe, creative way allows you to examine parts of yourself and society that are otherwise suppressed.

We are conditioned to always do the right thing, and rightly so. That’s why we have laws. But exploring the negative aspects of the human experience is always interesting. It reflects realities that exist in society. These shades offer immense scope for performance and exploration.

I want people to walk away feeling satisfied with the film, because ultimately, it’s about the triumph of good over evil.

But beyond that, I hope the film makes people reflect on the inherent violence within systems that are meant to provide justice and protection, and sometimes fail to do so.

Crime doesn’t begin somewhere distant; it begins at home, in the workplace, on your own street. I hope audiences reflect on what they witness in their own spaces, what they see as wrong but choose to ignore. If the film inspires that reflection over time, I would be very happy.

I’m always interested in characters who struggle with the human condition. We live in a complicated world, and people constantly wrestle with ethical dilemmas and internal contradictions.

I’m drawn to roles where a character is pushed to confront those questions, where their moral compass is tested. That exploration always interests me.

Since we’re talking about "Mardaani," I won’t name too many other films. But recently, I watched a beautiful film called "Lee Miller," which I found absolutely powerful.

I also saw "Santosh," which isn’t allowed to be screened in India. It’s about two policewomen and is very moving and hard-hitting.

I watched a Malayalam film called "Ullolakku" (which means “Undercurrent”), a beautifully told story about two women. It was deeply touching.

For the past few weeks, I’ve been so occupied with "Mardaani" that I haven’t had time to catch up on my full watchlist, but there are many films I’m looking forward to seeing.

I’m working on a few things. I’m writing my first screenplay, which is very exciting for me.

I also made a short film last October that’s currently doing the festival rounds. It’s doing well, and I’m keeping my fingers crossed.

There are ongoing conversations about a few roles, so let’s see how those unfold. I’m also looking forward to Season 3 of "Aspirants," where I appear in a few episodes. It’s expected to release in March. So yes, there’s quite a lot happening at the moment.