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Home arrow News arrow Entertainment arrow Mere Paas Maa Hai: The Indian mother in cinema
Mere Paas Maa Hai: The Indian mother in cinema Bookmark and Share
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Thursday, 10 December 2009
India is a land where a mother is always revered as an all-forgiving and all-sacrificing goddess. "Mere paas maa hai", a dialogue from Hindi film Deewar is perhaps the best to ode to this sentiment in Indian cinema.  

Bollywood heroes have always dotted on their celluloid mothers. From Raj Kapoor to Amitabh Bachchan, from Shahrukh Khan to Hrithik Roshan, our desi heroes have never left any opportunity to proclaim their unconditional and undying love for their on-screen mothers. For decades, many of our Hindi films revolved around an all-sacrificing, helpless, miserable mother who has been wrongly treated by her destiny and who is eagerly waiting for death to relieve her from all the pains and sufferings. Nargis immortalised this form of Indian motherhood in her path-breaking film Mother India. She showed the Indian mother to be one who loves, nurtures, punishes and sacrifices all for the sake of her children.

Next, came very own Sulochana Devi and Nirupa Roy, epitomising an ideal Indian mother. They looked pale, miserable, and helpless in their torn sarees, always shedding tears for all the wrongs done to her and family. Even screen diva Rakhee has been a successful mother of this form, at the later stage of her career.

Then in the nineties - the age of candy floss romances and chiffon sarees. A new avatar of onscreen mothers emerged with Reema Lagoo and Farida Jalal. From ‘maa' we saw the ideal Indian mother take a turn to be the modernised ‘mom'. She was no longer miserable or a pathetic figure. Instead, she was glamorous yet traditional and even broke into a couple of dance numbers. She became a friend to her son or daughter and confidently urged them to follow their hearts and to go after their not-so-rich ladyloves. Remember Reema Lagoo in Maine Pyaar Kiya? Or Farida Jalal in DDLJ?

Then came the present era, the age of successful single mothers, the a more modern woman - like Rekha in Koi Mil Gaya and Kiron Kher in Hum Tum. Kiron Kher in Dostana even accepted her son's gay partner.

Indian moms have come a long way. They are no more restricted in their domestic roles of homemakers but have ventured into the big bad world outside. Mothers like Lilette Dubey and Dimple Kapadia have left their sarees behind and have easily slipped into their jeans. They are always available to their children as friends without getting judgmental and giving them the space they need.

Maa or Mom, whatever we call them, they remain the same at hearts, loving and caring and dotting on their children.
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