Mother India – Bharat Mata (1957)

Directed by: Mehboob Khan | 175 minutes | drama, musical | Actors: Nargis, Sunil Dutt, Raaj Kumar, Rajendra Kumar, Kanhaiyalal, Jilloo Maa, Kumkum

‘Mother India’: a better title is hard to imagine. Both content-wise and film-historically, the title covers the load perfectly. In terms of content, because the film deals with a woman and mother, who symbolizes the strength, honor and independence of the Indian people, and thus figures at the same time as a literal and a figurative mother. And film-historically, because ‘Mother India’ was so successful and influential that the film can be considered the mother of the Bollywood film.

It’s not hard to see why the film has been so inspiring. The story gives hope to the (working class of) the Indian people by the way in which the simple worker is considered full. Furthermore, the dignity of the people as a whole is emphasized. A people that can dispose of itself (and its own country) and do not have to be subservient to oppressive rulers. It is clear from the start of the film who the filmmaker(s)’s sympathy lies with. Radha (and with it the Indian people at the same time) is portrayed as the one with moral truth on her side. She is the one who shows real character and perseverance.

It starts with her marriage. As a brand new bride, she can be found right away, at her husband’s side, on the land, while a new bride shouldn’t have to work so hard. However, Radha is persistent and principled. We see her working as hard as an ox; which is quite literally the case when one of their oxen dies and she herself roams the land with the plow on her neck. She does not wish to receive bribes or charity from the backstabbing money lender Sukhilala, but continues to provide for her family completely herself, also trying to repay the debts (of her mother-in-law) already outstanding with this villain.

Her pride and self-esteem go so far that at one point she even (almost) puts the lives of her children on the line. You can ask yourself whether this price (or this risk) is not too high. Dignity is a great thing, but as the movie ‘Grave of the Fireflies’ so powerfully makes clear, too much pride can have fatal consequences. Fortunately, ‘Mother India’ is doing well. Radha knows how to cultivate the land well and she also knows how to convince her fellow villagers after a heavy rain and flood not to leave their own country (the India that belongs to them), and to join forces. She knows how to give India hope, which is immediately shown through an overhead shot of the assembled population who together form the (topographical) India with their bodies.

The second part becomes more subtle and takes on dimensions of a Greek tragedy. Radha’s rebellious son Birju has from childhood a great hatred towards Sukhilala, even wanting to kill him and kidnap his daughter. This creates an internal moral conflict at Radha. On the one hand she will do anything for her child, but there are also limits, dictated by social codes, honor and decency. Murder and kidnapping are not the way to earn respect. Although Sukhilala is a big villain, Birju has also become (or rather, remained) a little devil here, and this presents Radha with a difficult choice.

Those who focus purely on this meaningful theme of the film, and enjoy the powerful acting of Nargis, who carries the entire film on her shoulders, will find an inspiring and moving film in ‘Mother India’. The problem is, this is made quite difficult. For starters, the story isn’t exactly told efficiently. The film could have been at least 45 minutes shorter. For example, there are quite a lot of empty parts or unnecessary repetitions in the film. For example, the clashes between Birju and Sukhilala are over-replicated, and subplots like Birju bullying the “water girls” are also given too much attention.

Even more annoying is the amount of “overacting” and the comic slant of the film. Facial expressions, actions, and complete scenes are often exaggerated to such an extent that they distract from the viewing experience, and either make the viewer burst out laughing or irritate them too much. The “broad”, comic style of the film is sometimes at the expense of tragedy and drama. This is ensured by the often very simply sketched characters, the exaggerated acting, and the Eisenstein-like editing work (which is sometimes effective).

On the other hand, as mentioned, Nargis’ strong acting, the powerful theme, and the epic scope. Oh yes, and the songs. Because, “how can this be the mother of all Bollywood movies without song and dance?”, you may have wondered. Do not grieve, as this aspect is superbly represented, with well-placed, relevant and expertly performed songs.

A strong film, but with some snags. It is ultimately up to the viewer to experience which aspects of the film weigh heavily, and which fade into the background in the assessment of the film.