The mother-son relationship is the perfect oasis in the intertwined speckled world of life, but over the years it has evolved enough to ease the burden on mothers.
In the Yash Chopra scene Dharamptra (1961), two mothers are fighting for the right to be killed by their son. “Tum jaanti ho maa, bhagwan ke baad main bas tumhe manta hun. par agar sachai ke raste se hataaya, toh main tumhari bhi parvaah nahi karunga’ declares Dilip, played by the stunning Shashi Kapoor. Dalputra, as the name suggests, is a story about two different types of service. One is honoring her mother, the other her is honoring the nation and otherwise admired as a mother. Even in the film, her birth mother and her adoptive mother work together to cure her capricious and toxic son. Much has been written about the mother’s metaphorical position in our films as moral and responsible, but at least in recent years she has been seen as a selfless protector and provider of life’s ultimate truism. are freed to some extent from both their obligations as a person.
at Bimal Royce Well (1952), Two sons, diametrically opposed in moral conduct, grow up under the protection of the same mother. Amazingly, the thief and wrongfully convicted person (Bharat Bhushan as Bhanu) is the one who ultimately turns out to be trustworthy. In the context of motherhood, no other film could be more talked about. mother india, a wise portrayal of a mother who makes every effort to provide for her ailing family. However, Hindi films are rare and show the contradictory side of this family equation. For example, in Dalputra, a Muslim woman secretly accepts the fact that her son, whom she chose not to bear, has turned into her prejudice. It reeks of gullibility, even a dedication in the face of tenuous moral dilemmas.
In the 60s, motherhood came onto the screen as a reflection of the uncertainty surrounding the young nation. Independence was won, but moral fitness was a daily battle. Choosing to fight it also meant being caged in its severity. Naturally, she fell at her mother’s feet to rescue and save the unreliable man. However, the 70s saw the birth of a tragic mother. This mother is a helpless widow whose condition has caused some kind of anger towards the system. This role was of course personified by Nirpa Roy, who mothered various versions of Amitabh Bachchan’s angry man avatar (diwa is the most iconic). Deprived of agency, this illegitimate “vechari” version of the mother gave her sons the will to punch above their socioeconomic weight: they sought the truth, but she was too many words. I stayed at home happily trapped in an impossible calculation.
Between these years of evolution, the relationship between mother and son has also become susceptible to the forces of greed, lust and control.of Kubslat (1980) For example, an autocratic mother’s rule over a large family is unintentionally questioned when rebellious, young-blooded chaos is fed into that system. have raised men to varying degrees of tolerance.In both Ma’a and Dharamputra, the existence of motherhood is not a guarantee of moral clarity, but simply a late chance to save something. The discussion of nature and upbringing applies here to some extent. VerstabFor example, Reema Raghu’s adorable presence cannot prevent her son from self-destructing.of Bugburn The same is true for multiple children. Pardesthe absence of an earthly mother makes men rootless and devoid of etiquette.
The mother-son relationship has reached an evolutionary position where the mother is allowed to be something other than a mirror for her son. Not as hooks, but to the point that the two have their own presence in our movie theaters. Kiron Carr (ham tom) introduced a cool, not always shrugging mother who referred to her son’s life as her concern, not her own sustenance. Vinglish in English Outside of caring for and raising the heroes of tomorrow, she embarked on a quest for her own agency.
Mother-son relationships are changing, and stories begin to acknowledge women’s desire to live outside of their functional requirements. Talk to him about issues that go beyond cursory definitions. AaryaFor example, a mother must, in moments of need, entrust her reluctant son with duties she would never ask in a perfect world. The table is overturned and the burden of the load rests on the men’s shoulders. It’s a collective scrambling free from the weight of the handbook on motherhood. In a way, it reflects the birth of this country. From carrying us on promises of possibility to now asking us to pull together a sense of survival and even defiance.
Manik Sharma writes about art and culture, movies, books, and everything in between.
https://www.firstpost.com/entertainment/retake-representation-of-mothers-sons-and-servitude-in-indian-cinema-11268561.html Representation of mothers, sons and slaves in Indian cinema – Entertainment News, Firstpost