The centre of affection

Much before marketing gimmicks made mockery of human relations; Hindi films had been celebrating greatness of mothers with grace. Go through most of the post Partition films until 1980s and it is evident that a “mother” played a crucial role in the cinematic plot of our stories. That is why for those taken in annually by advertisers’ synthetic pronouncements of ‘Mother’s Day’, it is suggested that they better watch our “screen mothers” to realise the importance and worth of our biological mothers!

Suave Nargis will be never be forgotten by Hindi cinegoers for her portrayal of “Mother India”. It is a timeless memento of the struggles mothers undergo to bring up their children in an agrarian society. In a role of a lifetime, Nargis was so gut wrenchingly authentic, brilliant and venerable that this one role alone assures Nargis a permanent place in the pantheon of outstanding screen mothers. Though she did a wonderful job in “Ghar Sansaar” too but “Mother India” has become a benchmark for all ages to come. While not many powerful roles are written for adult characters in Hindi films, yet if there was one actress who brought alive the sublime pathos and tenderness of a fragile mother, it was Leela Chitnis. Endowed with eyes dripping with melancholy, Chitnis had an “injured smile” that made you feel the burden of a tortured soul. Watch her giving subtle lessons in moral science and ethics in “Awaara”, “Maa”, “Kala Bazaar”, “Hum Dono” or “Guide” and it is perceptible that the ‘first educated lady of the film industry’ with her tonal inflections and minimalistic movement endowed screen with her own stamp of classic solemnity.

Sulochana was an actress whose face reflected a dignified mix of grace and warmth… a quality assuring sure shot success in a maternal role. Predominantly playing wife to Nazir Hussain and Ashok Kumar in most films, Sulochana was a quintessential, cultured family matron whose expressions were near perfect in portrayal of anger, laughter, tears and affection. That is why even amidst big star cast films like “Sujata”, “Aadmi”, “Kati Patang”, “Nai Roshni” or “Sunghursh”, Sulochana made her presence felt with her deft and distinguished portrayal.

Like the previous two, Dadasaheb Phalke Award winner Durga Khote also hailed from Maharashtra but unlike them, made impression as a no nonsense mother who had a mind of her own. Impeccable as Jodha Bai in costume drama “Mughal-e-Azam”, Durga Khote carried her cinematic weight in gold as she delivered powerful performances in “Kaajal”, “Anupama”, “Bidaai”, “Karz” and many others. Blessed with a mischievous, toothy smile and an engaging, “wobbly” dialogue delivery, Durga was loved by viewers for the maternal trust and affinity that she exuded at all times.

However, the screen mother who radiated golden sunshine was none other than Achala Sachdev. Hailing from Punjab, Achala Sachdev emanated the same bonhomie, exuberance and concern that is typical of all Punjabi mothers who smother children as well their friends with oodles of love, care and eatables in real life. Sachdev could do justice to teary-eyed roles as is exemplified by her enactments in “Chandni Chowk”, “Bahu Beti” and “Pavitra Paapi” but it is her infectious smile and laughter that stays with us. Extremely versatile in playful romance and light humour, Achala Sachdev was a camera’s delight with her shining eyes and impish smile… probably why she still continues to rule veteran hearts as the ultimate “Zohra Zabeen” (“Waqt”).

Unfortunately, though film writers have given great importance to mothers in their stories, most characters have not been etched in vivid shades or details. As such, bereft of “sub texts”, these maternal characters appear one dimensional but it speaks volumes of the proficiency of our untrained actresses of yesteryears that they provided such one dimensional and at times stilted characters with nuances and subtleties through their own vision and maturity. Leela Mishra, the popular Mausi of “Sholay”, is a perfect role model for all the present day film school actors to learn how to use facial gyrations and body movements to add an extra zing and punch to character as well as dialogues. A female embodiment of the versatile Om Prakash, she could cry and laugh with equal aplomb and from “Pyaasa” to “Ram Aur Shyam” and even in the tiniest of scenes; Leela Mishra compelled attention and respect.

In the Bachchan era, Nirupa Roy became synonymous for a “star mother” and while she did rule the throne, many of her enactments were too loud and garish for connoisseurs’ palate. Aided by a powerful voice and a meticulous dialogue delivery, this former heroine, however, did overcome drawbacks and induced grudging ovation from all quarters. Her scenes with Amitabh Bachchan, Ashok Kumar and Balraj Sahni are part of film folk lore and one has to concede that she made her screen presence felt even in the most absurd scenes just as she excelled in “Do Bigha Zamin”, “Grihasthi”, “Gopi” and “Deewar”.

The constraint of space does not allow one to spotlight several other screen mothers like Pratima Devi, Dulari and later Dina Pathak, Rohini Hattangadi, Aruna Irani and Reema Lagoo or for that matter Ratna Shah Pathak, who has turned out to be the mother of millenials. And how can we forget the Manoramas and Shashikalas who made us doubt every mother-in-law? It was the much loved and hated mother-in-law Lalita Pawar who established the trend. In a class of her own, Lalita Pawar did justice to every kind of role that came her way and from “Professor” to “Anari” and “Gharaana” to “Anand” stole the show with her histrionics just as she did with her venomous and vitriolic laden wicked characters. These screen angels shall live in our hearts with their tender deeds; their memories to be cherished forever!