Flawed But Real: Bollywood Has Come To Terms With The ‘Imperfect’ Mother

New Delhi: Mothers have been portrayed for decades as the embodiment of selflessness and purity, particularly Nargis Dutt’s role in Mehboob Khan’s ‘Mother India’ still being remembered as the idealistic mother Hindi cinema. She was revered as a symbol of everything noble and untainted, and more than just an individual.

Our films have definitely witnessed a change over the past decade that still draws inspiration from the outdated notion of a ‘perfect’ mother. Every family entertainer had to feature a sobbing Nirupa Roy bemoaning the struggles that her kids faced to Reema Lagoo, who embodied simplicity on screen and has since emerged as some of Bollywood’s most beloved mothers.

Even though Bollywood holds the blame for offering audiences the most typical portrayal of Indian parents, moms in particular are kept pristine in our films for a reason. The lack of individuality in the characters and the unwillingness of the makers to fully comprehend a mother’s character as a flawed individual are the root causes. Fortunately, a new wave of films like ‘Vicky Donor’, ‘Kapoor and Sons’, ‘Subh Mangal Savdhan’, and a few more have made a dramatic impact on how mothers are showcased. She is no longer depicted as an adorable defenseless creature.

One cannot, however, deny the fact that the seeds for evolution were sown long before we started noticing it on the screen. Sonam Kapoor and Kirron Kher, who featured in the 2014 film ‘Khoobsurat’, proved to be more than just a mother-daughter duo. They encourage one another fiercely and serve as each other’s confidants. Looking back, we can detect a hint of this dynamic in the bond between Kajol and Farida Jalal in ‘Dilwale Dulhania Le Jayenge’. In spite of the family having an unbending patriarch, the mother appears to be the one who comforts the child while offering safe haven.

Kirron Kher defied preconceptions in another movie from the 2000s by portraying a mother who was readily accepting of her child’s sexual orientation. ‘Dostana’ may now appear to be a misfire in terms of queer representation, however, with merely Kher’s part, it was a win. She isn’t perfect in every way, yet despite this, she does somewhat reluctantly (a little dramatically) back her son’s choices.

In the few years, Bollywood mothers have been portrayed in some extremely intriguing ways. The new protagonists are much more relatable because of their vulnerabilities. Although the movies before them preached the idea of ​​a highly idealistic person because MAa kabhi galat nahi ho sakti. Bollywood has embraced all the nuances of motherhood, from portraying single mothers like Savitri in ‘Jaane Tu Ya Jaane Naa’ to the maternal figure Gangu in ‘Gangubai Kathiawadi’.

In the movie ‘Kapoor and Sons’, Ratna Pathak Shah not only has a strained marriage with her husband but also often backs one of her kids almost to the point of sabotaging the career of another. Instead of being the family’s gluing force, a mother is depicted as a person who is in need of intervention from her loved ones. Instead of being the family’s gluing force, a mother is depicted as a person who is in need of backing from her loved ones. For once, the caregiver is depicted as an isolated individual in need of comfort.

When analyzing how moms are portrayed on-screen, one can’t overlook Sridevi’s role in Gauri Shinde’s ‘English Vinglish’. To ‘fit in’ in her teen daughter’s world and to ward off her husband’s sly jabs, she makes an effort to learn English. She also does it for her own triumph and self-worth.

The mother of today’s Bollywood films might not feel when her child is making their way home and wait while holding a worship platebut she will certainly know when her child needs therapy and will step in to defend their choices from societal norms.