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FILM IN REVIEW

FILM IN REVIEW; 'Mother India'

By Dave Kehr

Aug. 23, 2002

Directed by Mehboob Khan

In Hindi, with English subtitles

Not rated, 175 minutes

A defining film in the history of Bollywood, the Hindi film industry based in Bombay, Mehboob Khan's ''Mother India'' (1957) is often said to have helped set the pattern for the nearly 50 years of Indian film that has followed it. Filmed in the highly unstable Gevacolor process, this nationalist epic is a sprawling, three-hour melodrama with plenty of time out for anomalous musical numbers and situation comedy. Its central character is a peasant woman, Radha (Nargis), whose determination to weather all forms of social and personal adversity without compromising her honor becomes a symbol of India's own pride as an ancient culture and a new democracy.

The film is at once a sort of Indian ''Stella Dallas,'' which finds the heroine making sacrifice after sacrifice on behalf of her family, and a ''Gone With the Wind''-style epic of social change.

When Radha is first married, she discovers that her mother has gone into debt with the heartless local money lender, Sukhilala (Kanhaiyalal), to finance the lush festivities. But a marriage that begins in debt is already in danger. Gradually Radha and her husband (Raaj Kumar) are forced to sell off much of their land and cattle to finance the exorbitant interest the moneylender demands. When the husband loses both arms in a farming accident and can no longer support his family, he runs away in shame, leaving Radha with their two young sons. At this point ''Mother India'' shades into ''Mother Courage.''

Determined to bring her boys up properly, Radha works her fingers to the bone on what's left of the farm. Although the evil moneylender is always skulking around, offering to take Radha as his wife, she resists the insult to her honor and chastity. Through strength of will she brings her boys into adulthood, producing the sober, responsible Ramu (Rajendra Kumar) and the impish, irresponsible but irresistibly charming Birju (Sunil Dutt, who later married Nargis).

''Mother India'' opens today for a one-week engagement at the Walter Reade Theater in Lincoln Center, where it is being shown in a print restored by the British Film Institute. The Indian climate has clearly taken its toll on the delicate dyes of the color negative, and many of the film's most spectacular effects can be imagined only from the fading traces left on the screen. DAVE KEHR




	महबूब ख़ाँ
	महबूब ख़ाँ,वज़ाहत मिर्ज़ा, एस अली रज़ा
	, , , और कन्हैया लाल
	सुक्खी लाला


	, , और
	दुनिया में जब आये हैं तो…, मतवाला जिया, ओ मेरे लाल आजा
	फ़रूदन ए ईरानी
	शमसुदीन क़ादरी
	महबूब प्रोडक्शंस
	,
	172 मिनट

	कारलोवेरी अंतरराष्ट्रीय फ़िल्म महोत्सव:- सर्वश्रेष्ठ अभिनेत्री; फ़िल्मफ़ेयर:- सर्वश्रेष्ठ फ़िल्म, सर्वश्रेष्ठ निर्देशक पुरस्कार, सर्वश्रेष्ठ अभिनेत्री पुरस्कार, सर्वश्रेष्ठ छायाकार पुरस्कार, सर्वश्रेष्ठ ध्वनि पुरस्कार
	40,00,000 रुपये

मदर इंडिया महबूब ख़ान के द्वारा निर्देशित एक विख्यात हिन्दी फ़िल्म है, इसका प्रदर्शन 1957 में हुआ था।

1940 में फ़िल्म "औरत" में महबूब एक आम हिंदुस्तानी औरत के संघर्ष और हौसले को सलाम करते हैं और उसे एक ऐसी जीवन वाली महिला के रूप में पेश करते हैं, जो विपरीत हालात में भी डटकर खड़ी रहती है। इस फ़िल्म में एक गाँव की कहानी है, जिसमें एक कुटिल और लालची साहूकार अपनी हवस पूरी करने के लिए किसान परिवार की एक स्त्री पर अत्याचार करता है। सत्रह साल बाद यानी 1957 में महबूब ने इसी फ़िल्म का नया संस्करण "मदर इंडिया" शीर्षक के साथ बनाया। "औरत" की तरह "मदर इंडिया" को भी अपार सफलता हासिल हुई और इस फ़िल्म ने महबूब को भारतीय सिने इतिहास में अमर कर दिया।

"मदर इंडिया" को बनाने में पूरे तीन साल लगे और इस दौरान कुल मिलाकर सौ दिनों तक शूटिंग की गई। फ़िल्म की शूटिंग महबूब के बांद्रा स्टूडियो और दक्षिण गुजरात में उमरा नाम के एक छोटे-से शहर में हुई थी। फ़िल्म का कुछ हिस्सा सरार और काशीपुरा गांवों में भी फ़िल्माया गया था। [1] आस-पास बसे ये दोनों गांव बड़ौदा ज़िले में आते हैं।

फ़िल्म का गीत-संगीत भी बहुत पसंद किया गया। शकील बदायूंनी के लिखे भावपूर्ण गीतों को नौशाद की सुरीली धुनों का सहारा मिला था। नौशाद के संगीत की एक ख़ूबी यह भी थी कि वे अपनी धुनों में लोक-संगीत का बड़ी कुशलता के साथ इस्तेमाल करते थे। गीतों के लिए पाश्र्व गायकों का चुनाव करने में भी नौशाद माहिर थे। उन्होंने फ़िल्म के ज़्यादातर गीत शमशाद बेगम , मुहम्मद रफ़ी और मन्ना डे से गवाएँ, जबकि नर्गिस पर फ़िल्माए गए गीतों में उन्होंने लता मंगेशकर की आवाज़ का इस्तेमाल किया। लता ने भी "मदर इंडिया" के गीतों में अपनी तमाम भावनाएँ उतार दीं और यही वजह है कि फ़िल्म में उनके गाए गीत आज भी संगीत प्रेमियों को बेहद पसंद हैं। लता के गाए "दुनिया में हम आए हैं तो जीना ही पड़ेगा" और "ओ मेरे लाल आजा" जैसे गीतों को लोग आज भी बड़े चाव से सुनते हैं।

"मदर इंडिया" के छायाकंन फ़रदून ए. ईरानी ने किया था। जिनके साथ महबूब की दोस्ती फ़िल्म "अल हिलाल" के वक़्त से ही थी। महबूब की फ़िल्मों में फरदून की छायाकंन देखते ही बनता है, ख़ास तौर पर महबूब की "अंदाज" और "अमर" जैसी ब्लैक एंड व्हाइट फ़िल्मों में तो फरदून ने कमाल की छायाकंन किया है। फरदून ने "मदर इंडिया" के दृश्यों को ख़ूबसूरत बनाने की हर मुमकिन कोशिश की। आउटडोर लोकेशन के दृश्यों में फरदून का कैमरा कुदरत की ख़ूबसूरत कारीगरी को बख़ूबी परदे पर चित्रित करता है। फ़िल्म में गाँव-देहात के दृश्य भी बड़े जीवंत होकर उभरते हैं।

दूर-दूर तक फैला नीला आसमान....रास्ते में धूल उड़ाती हुई बैलगाड़ी चली जा रही है....बैलों के गले में बंधे घुंघरूओं की रूनझुन की मधुर ध्वनि आपके दिल को छू जाती है!

"मदर इंडिया" का स्क्रीनप्ले बहुत प्रभावी था और इसके डायलॉग बेहद असरदार थे। "औरत" के डायलॉग वज़ाहत मिर्जा ने लिखे थे, इसलिए यह स्वाभाविक ही था कि महबूब ने "मदर इंडिया" के संवाद लिखने का दायित्व भी उन्हें ही सौंपा। वज़ाहत मिर्जा को नाटकीय दृश्यों की संरचना करने में महारत हासिल थी और "मदर इंडिया" के दृश्यों में भी उन्होंने अपना यही कमाल दिखाया। फ़िल्म के किरदारों की ज़िंदगी में आने वाले उतार-चढ़ाव तथा उनके ग़मों और खुशियों को उन्होंने अपने दमदार संवादों में पिरोया। यही कारण है कि राधा, श्यामू या बिरजू जैसे किरदार इतने विश्वसनीय बनकर परदे पर उभरे। [2]

महबूब और वज़ाहत मिर्ज़ा दोनों का स्वभाव एक जैसा था, इसलिए उनमें अक्सर झगड़ा हो जाता था। "मदर इंडिया" की शूटिंग के दौरान भी ऐसा कई बार हुआ। नौबत यहाँ तक आ गई कि एक मर्तबा तो वज़ाहत मिर्जा ने महबूब के पास इत्तिला भिजवा दी कि वे फ़िल्म के लिए डायलॉग नहीं लिखेंगे। तब महबूब ने ही एक रास्ता निकाला। उन्होंने सैयद अली रजा को मध्यस्थ बनाया और उन्हें यह ज़िम्मेदारी सौंपी कि वे वज़ाहत मिर्जा से संवाद लिखवाएँ और सैट पर महबूब के पास पहुंचाएँ। अली रजा इससे पहले महबूब के लिए "अंदाज" की कहानी लिख चुके थे। वे वज़ाहत मिर्जा का बहुत सम्मान करते थे, लेकिन जब "मदर इंडिया" के क्रेडिट्स देने की बारी आई, तो महबूब ने संवाद लेखक के तौर पर वज़ाहत मिर्जा के साथ अली रजा का नाम भी देने का फैसला किया। वज़ाहत मिर्जा को जब यह बात पता लगी, तो उन्होंने एतराज किया और इस बारे में एक चिट्ठी महबूब के पास भेजी....लेकिन तब तक महबूब अपनी फ़िल्म को अंतिम रूप दे चुके थे और उनके पास इतना वक़्त भी नहीं था कि वे फ़िल्म की के्रडिट लाइन में कुछ फेरबदल कर पाते।

महबूब ने "मदर इंडिया" के टाइटल रोल में नर्गिस को लिया, जिन्हें वे 1943 में बनी अपनी फ़िल्म "तकदीर" के जरिए जमाने के सामने ला चुके थे। नर्गिस की गिनती पचास के दशक की कामयाब अभिनेत्रियों में होती थी। उस दौर में उन्होंने अनेक फ़िल्मों में मुख्य नायिका के तौर पर काम किया, लेकिन "मदर इंडिया" का रोल उनके लिए कितना अहम था, यह खुद नर्गिस ने एक इंटरव्यू में बताया था। उन्होंने कहा था, "....जब मुझे "मदर इंडिया" का रोल ऑफर किया गया, तो मुझे लगा कि एक कलाकार होने के नाते मैंने जो उम्मीदें लगा रखी हैं, आख़िरकार उनके पूरा होने का वक़्त आ गया है।....." [3]

जब कभी लोकप्रिय भारतीय फ़िल्मों के बारे में रायशुमारी की जाती है, "मदर इंडिया" हमेशा पहली पायदान पर खड़ी नज़र आती है। हिन्दी सिनेमा की चंद क्लासिक फ़िल्मों में "मदर इंडिया" की गिनती की जाती है और सिर्फ़ अपने देश में ही नहीं, दुनिया के बाकी मुल्कों में भी हर पीढ़ी के दर्शकों ने इस फ़िल्म को पसंद किया है। [4]

महबूब ख़ान की मदर इंडिया भारतीय सिनेमा की सबसे महत्त्वपूर्ण और सराही जाने वाली फ़िल्मों में से एक है। मदर इंडिया की पटकथा भी ज़बर्दस्त थी। फ़िल्म की कामयाबी में उसकी सशक्त पटकथा का भी अहम योगदान रहा था। [5] हालांकि सिनेमा एक दृश्य माध्यम है, लेकिन फ़िल्म को कहने की कला में उसके संवादों की भूमिका को क़तई नज़रअंदाज़नहीं किया जा सकता। किसी भी फ़िल्म के संवाद न केवल उसके सामाजिक और सांस्कृतिक परिप्रेक्ष्य का निर्माण करते हैं, बल्कि वे उसके मुख्य किरदारों की भावनाओं को भी व्यक्त करते हैं। यही बात मदर इंडिया पर भी लागू होती है। वर्ष 1957 में रिलीज हुई यह फ़िल्म ऑस्कर पुरस्कारों के लिए नामित होने वाली पहली हिन्दी फ़िल्म थी।

फ़िल्म में नरगिस, राजकुमार , सुनील दत्त , कन्हैयालाल और राजेंद्र कुमार के संवादों ने संघर्ष और जुझारूपन की इस अमर गाथा को जीवंत कर दिया था। मदर इंडिया पटकथा वज़ाहत मिर्जा और सैयद अली रजा ने निर्देशक मेहबूब ख़ान के साथ लिखी थी। वर्ष 1908 में लखनऊ में जन्मे वज़ाहत मिर्जा ने अपना फ़िल्मी कैरियर कलकत्ता के न्यू थिएटर में सहायक कैमरामैन की हैसियत से शुरू किया था। 40 के दशक में वे मुंबई चले आए।

उन्होंने मुंबई में अपने कामकाज की शुरुआत अभिनेता और फ़िल्म निर्देशक के रूप में की थी, लेकिन बाद में वे पटकथा लेखन में रुचि लेने लगे। वे उर्दू के बेहतरीन शायर भी थे, हालांकि उनकी शायरी कभी सामने नहीं आ सकी। उन्होंने भारत की कुछ बेहतरीन फ़िल्मों का स्क्रीन प्ले लिखा है, जिनमें मदर इंडिया के अलावा मुग़ले आजम , शिकस्त, यहूदी, गंगा जमना और लीडर शामिल हैं। मेहबूब ख़ान के साथ वज़ाहत मिर्जा ने छह फ़िल्में की थीं और मदर इंडिया इन दोनों महारथियों का श्रेष्ठतम साझा प्रयास था।

सैयद अली रजा जाने-माने लेखक आगा जानी कश्मीरी के भतीजे थे। रजा की लेखन शैली बहुत विशिष्ट थी और अपनी पहली ही फ़िल्म में उन्होंने इसकी झलक दिखाई। यह फ़िल्म थी मेहबूब ख़ान की अंदाज। इस फ़िल्म में अपने जमाने के दो दिग्गज अभिनेता दिलीप कुमार और राज कपूर एक साथ नज़र आए थे। इसके बाद रजा ने मेहबूब ख़ान की आन के संवाद भी लिखे। इसी फ़िल्म की शूटिंग के दौरान उनकी भेंट अभिनेत्री निम्मी से हुई थी और बाद में दोनों ने शादी कर ली। सैयद अली रजा ने एक पटकथा लेखक के रूप में नए मानक स्थापित किए थे। [6]

राधा बनीं थीं नर्गिस

फ़िल्म 'मदर इंडिया' में राधा की भूमिका के ज़रिए भारतीय नारी को एक नया और सशक्त रूप देने वाली नर्गिस हिन्दी सिनेमा की महानतम अभिनेत्रियों में से एक थीं जिन्होंने लगभग दो दशक लंबे फ़िल्मी सफ़र में दर्जनों यादगार और संवदेनशील भूमिकाएँ कीं और अपने सहज अभिनय से दर्शकों का मनोरंजन किया। 1940 और 50 के दशक में उन्होंने कई फ़िल्मों में काम किया और 1957 में प्रदर्शित महबूब ख़ान की फ़िल्म 'मदर इंडिया' उनकी सर्वाधिक चर्चित फ़िल्मों में रही। इस फ़िल्म को ऑस्कर के लिए नामित किया गया था। अंतरराष्ट्रीय स्तर पर चर्चित फ़िल्म 'मदर इंडिया' में राधा की भूमिका के लिए नर्गिस को फ़िल्म फेयर सहित कई पुरस्कार मिले। इसी फ़िल्म में शूटिंग के दौरान अभिनेता सुनील दत्त ने आग से उनकी जान बचाई थी और बाद में दोनों ने शादी कर ली थी। [7]

सुनील दत्त बने बिरजू

बॉलीवुड के मशहूर अभिनेता सुनील दत्त ने अपने सिने करियर की शुरुआत वर्ष 1955 में प्रदर्शित फ़िल्म रेलवे प्लेटफार्म से की लेकिन फ़िल्म की असफलता से वह अपनी पहचान बनाने में कामयाब नहीं हो सके। सुनील दत्त की क़िस्मत का सितारा 1957 में प्रदर्शित फ़िल्म मदर इंडिया से चमका। इसमें वह एक ऎसे युवक बिरजू की भूमिका में दिखाई दिए जो गांव में सामाजिक व्यवस्था से काफ़ी नाराज़ है और विद्रोह कर डाकू बन जाता है। बाद में साहूकार से बदला लेने के लिए वह उसकी पुत्री का अपहरण कर लेता है, लेकिन इस कोशिश में वह अपनी माँ के हाथों मारा जाता है। इस फ़िल्म में एंटी हीरो का किरदार निभाकर वह दर्शकों का दिल जीतने में कामयाब हो गए। [8]

मुख्य कलाकार

नर्गिस - राधा
सुनील दत्त - बिरजू
राजेन्द्र कुमार - रामू
राज कुमार - श्यामू
कन्हैया लाल - सुक्खी लाला
कुमकुम - चंपा
मुकरी - शंभु
शीला नाईक - कमला
आज़ाद - चंद्र
मास्टर साजिद ख़ान - युवा बिरजू
मास्टर सुरेन्द्र - युवा रामू
कारलोवेरी अंतरराष्ट्रीय फ़िल्म महोत्सव:- सर्वश्रेष्ठ अभिनेत्री नरगिस दत्त
फ़िल्मफ़ेयर:- सर्वश्रेष्ठ फ़िल्म
फ़िल्मफ़ेयर:- सर्वश्रेष्ठ निर्देशक पुरस्कार महबूब ख़ाँ
फ़िल्मफ़ेयर:- सर्वश्रेष्ठ अभिनेत्री पुरस्कार नरगिस
फ़िल्मफ़ेयर:- सर्वश्रेष्ठ छायाकार पुरस्कार फ़रूदन ए ईरानी
फ़िल्मफ़ेयर:- सर्वश्रेष्ठ ध्वनि पुरस्कार आर कौशिक

टीका टिप्पणी और संदर्भ

↑ सरार गांव में ही महबूब का जन्म हुआ था
↑ ऐसे बनी "मदर इंडिया" ( हिन्दी ) पत्रिका। अभिगमन तिथि: 27 अगस्त , 2010 ।
↑ फ़िल्मफेअर / 25 अप्रेल 1958
↑ नियोगी बुक्स, नई दिल्ली से प्रकाशित नसरीन मुन्नी कबीर की पुस्तक "द डायलॉग ऑफ़ मदर इंडिया" के कुछ अंश।
↑ लेखिका और डॉक्यूमेंट्री फ़िल्मकार नसरीन मुन्नी कबीर ने मेहबूब ख़ान की इस क्लासिक फ़िल्म के संवादों को एक किताब की शक्ल में संजोया है। वे इससे पहले भी सिनेमा पर कई किताबें लिख चुकी हैं, जिनमें शामिल हैं वर्ष 1996 में प्रकाशित गुरुदत्त : अ लाइफ इन सिनेमा, वर्ष 2009 में प्रकाशित लता मंगेशकर : इन हर ओन वॉइस में प्रकाशित द डायलॉग ऑफ़ आवारा : राज कपूर्स इम्मोर्टल क्लासिक। उनकी नई किताब में मदर इंडिया के संवादों के साथ ही शकील बदायूंनी के सदाबहार गीतों को भी देवनागरी , उर्दू और रोमन लिपि में जगह दी गई है।
↑ मदर इंडिया का चरित्र गढ़ने वाले महारथी ( हिन्दी ) (एच.टी.एम.एल) दैनिक भास्कर। अभिगमन तिथि: 27 अगस्त , 2010 ।
↑ भारतीय नारी को सशक्त रूप देने वाली अभिनेत्री थीं नर्गिस ( हिन्दी ) (एच.टी.एम.एल) हिंदुस्तान। अभिगमन तिथि: 27 अगस्त , 2010 ।
↑ मदर इंडिया से चमका सुनील दत्त का सितारा ( हिन्दी ) ख़ास खबर। अभिगमन तिथि: 27 अगस्त , 2010 ।

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Mother India Reviews

Mehboob Khan took Nargis and turned her into Bharat Mata, and all "mothers" in popular Indian cinema have since had to be strong and sacrificial.

Full Review | Aug 16, 2021

The acting is broad and rhetorical, and the movie resembles those relentlessly upbeat tractor-musicals of the Soviet cinema that Stalin so much admired.

Full Review | May 6, 2021

Put it this way, it's the birth of the Bollywood blockbuster. It should be on every cineaste's must-see list.

Full Review | Original Score: 5/5 | Mar 18, 2013

Mother India is quintessential popular Hindi cinema.

Full Review | Original Score: 3/5 | Mar 18, 2013

As the mother, Nargis is as resolute as a force of nature, and Mehboob Khan creates tableaux of the family that evoke its fragile unity.

Full Review | Mar 18, 2013

True, there are dull spots and the overripe supporting cast pale beside Nargis' 'force of nature' central performance, but overall it's a wallowy treat.

Full Review | Feb 9, 2006

The first great Bollywood blockbuster, Mother India (Bharat Mata) a purposefully melodramatic musical, liberally laced with action, wit, humour and also a strongly socialist strain.

Full Review | May 24, 2003

The most popular film in Indian history -- it's said to have been playing somewhere in the country every day since its release.

Full Review | Original Score: 3.5/5 | Aug 22, 2002

Often said to have helped set the pattern for the nearly 50 years of Indian film that has followed it.

Full Review | Aug 22, 2002

An outrageous masala of apparently discordant elements.

Full Review | Aug 20, 2002

Throughout Mother India, [Mehboob] presents the landscape, the crops, the herds of livestock practically as characters in themselves.

Full Review | Aug 16, 2002

A gem made in the 'Golden Age' of Indian cinema.

Full Review | Original Score: 4/5 | Aug 15, 2002

This looks a bit creaky now, but it's a big, entertaining work, with echoes of The Good Earth and Gone With the Wind.

Full Review | Aug 15, 2002

The only thing this ponderous Bollywood epic could inspire is matricide.

Full Review | Original Score: 1/5 | Aug 14, 2002

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In times of “Bharat Mata”, revisiting Mother India on the 60th year of the film’s release

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Radha, belonging to a poor farmer’s family, marries Shyamu, also a farmer, and they have two sons but soon come into conflict with Sukhilala, a greedy moneylender. But no matter the struggles, Radha always sticks to her own moral code and refuses to sacrifice her integrity.

Mother India (1957)

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Mother India

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ट्रेंडिंग वीडियो
आने वाली फ़िल्में
हालिया रिलीज फिल्में

मदर इंडिया (1957)

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Mother India is a 1957 Hindi epic melodrama film, directed by Mehboob Khan and starring Nargis, Sunil Dutt, Rajendra Kumar, and Raaj Kumar. A remake of Khan's earlier film Aurat , it is the story of a poverty-stricken village woman named Radha who, in the absence of her husband, struggles to raise her sons and survive against a money-lender amidst many troubles. Despite her hardship, she sets a goddess-like moral example of an ideal Indian woman. In the end she kills her son Birju, a criminal, for the greater good. Wikipedia

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Nagari Nagari Dware Dware
Duniya Men Hum Aaye Hain
O Gaadiwale
Matwala Jiya Dole Piya
Dukh Bhare Din Beete Re Bhaiya
Holi Aayi Re Kanhai
Pi Ke Ghar Aaj Pyari Dulhaniya Chali
Ghunghat Nahin Kholoongi Saiyan
O Mere Lal Aaja
O Janewalo Jao Na
Na Main Bhagwan Hoon

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Mother India (Film) – Story & Analysis

Story: .

Set in rural India in the years surrounding India’s independence (1947), Mother India tells the story of Radha, a poor, illiterate villager who struggles to care for her family. Radha’s husband Shyamu is forced to pawn the gold bangles which come in her dowry (known as stree dhan or the woman’s wealth), their land, their cows and ancestral brassware to pay their usurious debt to the village moneylender Sukhi Lala. Floods strike, destroying Radha’s home and killing two of her four children. Seeing an opportunity, Sukhi Lala offers Radha money in exchange for sexual favours after Shyamu abandons her. Refusing to relent, Radha raises her two surviving children single-handedly. Her enormous strength and willpower enable her to succeed where Shyamu fails. Radha’s accomplishments earn her the title of the mother of the entire village, which becomes a symbol for the nation as a whole: hence the iconic title Mother India.

Mother India was a remake of Mehboob’s own hit talkie Aurat (Woman, 1939), inspired by the Hollywood film The Good Earth (1937). Aurat’s success helped Mehboob to set up his own studio, which featured a hammer and a sickle in its logo.1 Although it is often taken to be a sign of communist propaganda, Mehboob’s use of the hammer and sickle is better understood as a strong evocation of his humble origins as a farmer and his love of peasant life.2 Aurat was one of the earliest talkies to be set in rural India. While Aurat is a gritty tale of female suffering and sacrifice that ends in the death of a heartbroken mother, Mehboob elevates Mother India to a national scale by drawing on the twin experiences of independence and partition. This is evident not only from the change in the title but also in various stylistic augmentations, made possible by the then new technology of Gevacolor.3 Mehboob and his cameraman Faredoon Irani shot on location using synch sound in his native Gujarat, bringing a heightened, spectacular realism that was new to Bombay cinema. The new version included actual footage from a flood which was matched with carefully constructed studio shots.

Mother India combines a striking use of red earth tones with sensational scenes of rural festivity, deploying them to create a glamorous family drama that unfolds in the unlikely setting of the village. The film opens with Soviet-style imagery of tractors that till a verdant, thriving land set against the backdrop of a newly constructed dam. Asked to inaugurate the dam, an old Radha, seen in extreme close-up, shakes her severely lined, worn face in disbelief. Contemporary audiences would have immediately recognised the tractor and dam as potent signifiers of the Nehruvian ideal of socialist progress. As villagers urge her to perform the prestigious task, memories of Radha’s traumatic past break through the dam’s floodgates. This provocative segue sets up a point of view that is distinctly marked as one that belongs to Radha, leading to a flashback that reveals a competing, untold story. We then see Radha as a young, stunningly beautiful bride who unselfishly removes her bridal finery to throw herself into the task of nurturing her home. The paying off of the debt tells only one part of this story. Shyamu loses both his arms (and his masculinity) in a horrific accident that reduces him into another mouth to be fed. Radha is harassed by Sukhi Lala at every opportunity; in a significant downturn, her younger son Birju betrays her trust by turning into a ganja (marijuana)-smoking bandit. As if this is not enough, Birju kidnaps Sukhi Lala’s daughter Rupa from her wedding altar. Although Birju is driven by a desire to avenge his mother’s mistreatment, in doing so he jeopardises Radha’s painstakingly earned goodwill and izzat, a word that connotes chastity as well as respectability. Radha implores Birju to give Rupa up and not harm her izzat: by now, izzat encompasses the chastity and respectability of both women. When Birju refuses, Radha threatens to kill him, a move that signifies her greater commitment to the village. In a shocking and unprecedented move, Radha shoots her beloved son in one single, spectacularly fatal shot. No other Indian film has portrayed motherhood so graphically, showing Radha’s awesome beauty at one moment while telescoping her brutal loss in the other.

The fall-out between son and mother embodies all the key struggles that structure Mother India: money against honour, debt against self-reliance, subjugation versus independence, individual identity against the collective Good, traditional family loyalty against the modern State, and finally, male inadequacy against female power. While Mother India begs to be considered as an Oedipal drama, it also disrupts any straightforward Freudian reading by depicting a son who, within the world of the film, cannot have the mother: instead, the mother kills the son. Radha herself embodies an intense maternal love that turns against itself in the explosive climax.

Indeed, Mother India’s universe is one that threatens to fall apart constantly. Its polarisation of personal love and national commitment is extreme. The two can be reconciled only in the affective realm of the personal but not in the material, social world of the film. Only Birju’s spectacular death can leave his memory intact. The event allows Mother India to register the volatility of a transformation that turns the nostalgic, idyllic space of the village into a unit reorganised along the lines of a modern nation state that provides partial and insufficient justice. Equally, the film also celebrates Radha’s herculean effort in a haunting frame that depicts a human map of undivided India against the lush, lyrical background of fields swelling with grain; a shot that wishfully erases painful memories of the Partition. This shot is followed by an iconic tableau that rejoices in a Christ-like Radha, harnessed to a plough that eventually becomes her cross as she heaves herself unknowingly into a traumatic future.

Scenes like this translate the trauma of colonialism and Partition into a recognizable psychic register organised according to love between mother and son who are sundered apart. So profound was Mother India’s dramatic impact that it may well be characterised as the mother of melodrama in Bombay cinema. Central here is the problem of allegiance to the new nation, which demands a rapid overhaul of older loyalties, forms of kinship and their attendant moral values: Birju sacrifices his life for his mother’s honour while Radha sacrifices Birju for the future of her land. Radha’s torn state of mind is illustrated in a key sequence that occurs during Holi, a festival that celebrates the spring harvest. Sukhi Lala’s daughter Rupa dances seductively at the festival, wearing Radha’s bangles to seduce Birju. The audience knows that Sukhi Lala has wrongfully appropriated jewellery from Radha’s dowry. Thus Rupa’s expression of sexual desire is perverse and sadistic; moreover, she berates Birju for coveting the bangles instead of her. Incensed, Birju tries to yank his mother’s bangles from Rupa’s wrists. Afraid of Birju’s intensifying rebellion, Sukhi Lala accuses him of molesting his daughter. This sets off an angry mob, which ties Birju to a stake and smokes him out of haystacks when he tries to hide, injuring him with a bullet. Red hues from Birju’s blood, Radha’s sari and the rising flames bleed into each other in quick swish pans that evoke a sense of hysteria and panic. This is a make or break moment of truth: Radha must choose between love for her son or uphold her respect and duty toward the land. Colour orchestrates the effects that express Radha’s abiding love for Birju while her chilling screams reverberate across a land from which she is suddenly alienated. Memories of this impossible choice pervade the concluding sequence, where blood washes across the scene as Radha reluctantly unlocks the dam’s floodgates, releasing red water. Blood ties finally triumph over the memory of Radha’s public quelling of Birju, making room for a recollection that at last acknowledges his psychic motivations: he dies in her arms, clutching her blood-soaked bangles. This telling image is superimposed over images of a past that appear heroic to others but are now suffused with recognition of Radha’s colossal sacrifice.

Mother India remains significant for a number of other reasons as well, particularly because it marks a major shift in its lead actress Nargis’s career. In her previous collaborations with co-star and director Raj Kapoor, Nargis often appeared as an urban, seductive heroine. In Mehboob’s Andaz (1949), she appeared as a spoiled, rich city girl. Other examples include Awara (1951) and Shree 420 (1955), which feature variations of an urban star persona epitomised by her short, bobbed hair, westernised attire and frank sexuality. Together, Nargis and Raj Kapoor stood for sexual boldness because of their much-publicised affair. However, Kapoor was already married and apparently refused to marry her.4 Nargis had become so involved with Raj Kapoor that she neglected her original mentor Mehboob until disenchantment with her current relationship with Kapoor pushed her into taking Mother India on. Given this history, Nargis’s portrayal of Radha remained highly sexualised – in another famous sequence, she offers herself to Sukhi Lala in a decision that says ‘anything to feed my hungry children’. Divine intervention helps Radha to find the strength to fight Sukhi Lala but her willingness to risk her reputation pushes the limits of what screen mothers can and cannot do, in a film where female honour is at an absolute premium. What’s more, Nargis would bid a permanent goodbye to Kapoor and soon marry her co-star Sunil Dutt. Ironically, Dutt played Birju in Mother India. In the climactic fire sequence discussed above, rising flames threatened to kill both actors but Dutt saved Nargis in a brave, selfless act that has now become a legendary story about abiding love.5 In his career, though, Dutt was a beginner. His Birju came across as an uncouth, attractive youth with a raw machismo. The performance worked and won the audience over as it responded to Birju’s iconoclastic vigilantism. Nargis was clearly the bigger star here but her marriage to an unknown actor provided even more grist to the gossip mills, adding to Mother India’s wild popularity. Ultimately, Nargis came to be remembered most for her performance as the rustic, fiercely independent Radha and as the wife of Sunil Dutt. Though Mehboob tried to suppress news of the so-called ‘mother-son’ marriage, it spread like wildfire, doing little damage to the film’s success: in Kala Bazaar (The Black Market, 1960), Mother India appears as a film so popular that it launched a thriving black market in Bombay cinemas. In fact, the scandal structured one more melodramatic coup d’état that allowed the son to ‘get’ the mother although she had destroyed him on screen.6

Indeed, Mother India inspired dozens of other films, notably Gunga Jumna (1961) and Deewar (The Wall, 1975).7 The print was carefully guarded to prevent duplication, ensuring that it ran continuously in theatres until the 1980s, a period that saw major transformations in post-independence Bombay cinema. Like Birju, Deewar’s protagonist Vijay dies in a lover-like embrace in his mother’s arms. Politicians like Indira Gandhi drew significantly on Nargis as Mother of the Nation during election campaigns, replacing older iconographies with a cinematically inflected political reappraisal.8 Mother India’s long afterlife offers further testimony of its searing melodramatic intensity. More recently, the fire sequence reappears in Farah Khan’s Om Shanti Om (2007) as an example of a struggling actor’s undying love for the film’s leading female star. Whatever the emphasis, Mother India plays out on a monumental scale that remains unsurpassed in Bombay cinema.

Anupama Kapse

Notes

1. Aurat was produced by National Studios. Ashish Rajadhyaksha and Paul Willemen note that Mehboob started out as an actor in the silent era, gradually working his way up to direct films for some of the most important studios of the late silent and early sound era, including Imperial and Sagar movietone. See Encyclopaedia of Indian Cinema, London, British Film Institute, 1999, p. 145.

2. Mehboob explains in an article published in Filmfare, 1957, ‘I took the hammer and sickle as our symbol, because we considered ourselves workers and not just producers, directors and stars. I am not communist’ (quoted in Chatterjee, 2002: 72).

3. The film was shot in Gevacolor and printed in Technicolor. See Chatterjee, 2002: 20–1.

4. For a detailed discussion of Nargis’s preMother India star persona, see Majumdar, 2009: 153–5. See also Thomas, 1989: 23.

5. Sunil Dutt recounts this moment in the documentary Nargis Dutt, dir. Priya Dutt, Films Division, 1992.

6. See Thomas, 1989: 27: ‘the son [finally] “got” the mother’. This marriage shocked viewers because Nargis came from a Muslim family while Dutt was a Hindu. Nargis’s mother was a poet, scriptwriter and filmmaker during the silent era at a time when any association with cinema tarnished the woman’s reputation. Nargis, on the other hand, was brought up in Bombay and had had a privileged, Westernised education. Mehboob persuaded her to star in his Taqdeer/Fate (1943), where she played her first lead role, at the age of 14. Her subsequent affair with Kapoor fuelled speculations about her loose character, which came to be associated with her mother’s disrepute. Her appearance in Mother India and her marriage to Sunil Dutt had a defining effect on Nargis’s final public persona, that of a social activist and champion of India’s social upliftment.

7. Other films that ran continuously for long periods of time include Sholay (1975), Hum Apke Hain Kaun (1992) and Dilwale Dulhaniya Le Jayenge (1996).

8. As a newly elected Member of Parliament at the Rajya Sabha, Nargis attacked Satyajit Ray’s Pather Panchali (1955) for catering to Western audiences by foregrounding India’s poverty, rather than its success as a nation. See Parama Roy, Indian Traffic: Identities in Question in Colonial and Postcolonial India, Berkeley, University of California Press, 1988, pp. 168–73; also Thomas, 1989: 29 for an insightful discussion of how Indira Gandhi appropriated captions like ‘Mother India needs you’ in the 1980 electoral campaign.

Cast and Crew:

[Country: India. Production Company: Mehboob Studios. Director: Mehboob Khan. Producer: Mehboob Khan. Dialogue: Wajahat Mirza and S. Ali Raza. Cinematographer: Faredoon Irani. Music: Naushad. Lyrics: Shakeel Badayuni. Editor: Shamsudin Kadri. Dance Director: Chiman Sethi. Costumes: Fazal Din. Cast: Nargis (Radha), Raaj Kumar (Shyamu), Sunil Dutt (Birju), Rajendra Kumar (Ramu), Kanhaiya Lal (Sukhi Lala), Master Sajid (young Birju), Jiloo (mother-in-law), Chanchal (Rupa).]

Mother India Review

03 May 2002

175 minutes

Mother India

When this masala masterpiece was released in 1957, director Mehboob Khan was considered the Cecil B. DeMille of Bollywood, and the film's star, Nargis, was its queen.

Essentially a reworking of the director's 1940 hit, Aurat, it proved to be the peak of their careers, yet it remains a landmark in subcontinental cinema.

The first Bollywood movie to land an Oscar nomination, it's ranked among the most widely seen and commercially successful pictures ever produced in Bombay.

Despite its obvious artificiality, it is, as you would expect of someone with Khan's social realist credentials, very much a political statement - a demonstration of national unity a decade after independence.

Yet for such a populist picture, with a seemingly clear message, it's also a mass of contradictions: a paean to Hindi morality directed by and starring a Muslim; a pastorale to the peasantry produced by city sophisticates; and a tribute to motherly love that oozes Oedipal tension.

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Mother India

Mother India: Release Date, Trailer, Songs, Cast

Release Date 25 October 1957
Language Hindi
Genre Action, Comedy, Drama
Duration 2h 52min
Cast Nargis, Sunil Dutt, Master Sajid, Rajendra Kumar, Master Surendra, Raaj Kumar, Kanhaiyalal, Jilloo Maa, Kumkum, Chanchal, Sheela Naik, Mukri, Sitaradevi, Azra, Siddiqui
Director Mehboob Khan
Writer Wajahat Mirza, S. Ali Raza, Babubhai A. Mehta
Cinematography Faredoon A. Irani
Music Naushad
Producer Mehboob Khan
Production Mehboob Productions
Certificate U

About Mother India Movie (1957)

Radha (Nargis) belongs to a poor farmer’s family, and marries another farmer Shamu (Raaj Kumar). They have two sons, and soon come into conflict with Sukhilala (Kanhaiya Lal), a greedy moneylender. However, no matter the struggles, Radha always sticks to her own moral code and refuses to sacrifice her integrity.

Mother India Movie Cast, Release Date, Trailer, Songs and Ratings

Mother India Movie Trailer

Mother india movie songs.

#	TITLE	ARTIST	DURATION
1.	Chundariya Katati Jaye	Manna Dey	3:08
2.	Nagari Nagari Dware Dware	Lata Mangeshkar	3:25
3.	Duniya Men Hum Aaye Hain	Lata Mangeshkar, Meena Khadikar, Usha Mangeshkar	3:36
4.	O Gaadiwale	Shamshad Begum, Mohammed Rafi	2:59
5.	Matwala Jiya Dole Piya	Lata Mangeshkar, Mohammed Rafi	3:34
6.	Dukh Bhare Din Beete Re Bhaiya	Shamshad Begum, Mohammed Rafi, Manna Dey, Asha Bhosle	3:10
7.	Holi Aayi Re Kanhai	Shamshad Begum	2:49
8.	Pi Ke Ghar Aaj Pyari Dulhaniya Chali	Shamshad Begum	3:22
9.	Ghunghat Nahin Kholoongi Saiyan	Lata Mangeshkar	3:10
10.	O Mere Lal Aaja	Lata Mangeshkar	3:10
11.	O Janewalo Jao Na	Lata Mangeshkar	2:32
12.	Na Main Bhagwan Hoon	Mohammed Rafi	3:23

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'She wanted to live a good life': Parents of Indian doctor raped and murdered on night shift

The rape and murder of a trainee doctor in India’s Kolkata city earlier this month has sparked massive outrage in the country, with tens of thousands of people protesting on the streets, demanding justice. BBC Hindi spoke to the doctor’s parents who remember their daughter as a clever, young woman who wanted to lead a good life and take care of her family.

All names and details of the family have been removed as Indian laws prohibit identifying a rape victim or her family.

"Please make sure dad takes his medicines on time. Don't worry about me."

This was the last thing the 31-year-old doctor said to her mother, hours before she was brutally assaulted in a hospital where she worked.

“The next day, we tried reaching her but the phone kept ringing," the mother told the BBC at their family home in a narrow alley, a few kilometres from Kolkata.

The same morning, the doctor’s partially-clothed body was discovered in the seminar hall, bearing extensive injuries. A hospital volunteer worker has been arrested in connection with the crime.

The incident has sparked massive outrage across the country, with protests in several major cities. At the weekend, doctors across hospitals in India observed a nation-wide strike called by the Indian Medical Association (IMA), with only emergency services available at major hospitals.

The family say they feel hollowed out by their loss.

“At the age of 62, all my dreams have been shattered," her father told the BBC.

Since their daughter's horrific murder, their house, located in a respectable neighbourhood, has become the focus of intense media scrutiny.

Behind a police barricade stand dozens of journalists and camera crew, hoping to capture the parents in case they step out.

A group of 10 to 15 police officers perpetually stand guard to ensure the cameras do not take photos of the victim's house.

Getty Images Women hold lit candles as they take part in a vigil named 'Reclaim the Night' on 15 August in Kolkata

The crime took place on the night of 9 August, when the woman, who was a junior doctor at the city's RG Kar Medical College, had gone to a seminar room to rest after a gruelling 36-hour shift.

Her parents remembered how the young doctor, their only child, was a passionate student who worked extremely hard to become a doctor.

“We come from a lower middle-class background and built everything on our own. When she was little, we struggled financially," said the father, who is a tailor.

The living room where he sat was cluttered with tools from his profession - a sewing machine, spools of thread and a heavy iron. There were scraps of fabrics scattered on the floor.

There were times when the family did not have money to even buy pomegranates, their daughter's favourite fruit, he continued.

"But she could never bring herself to ask for anything for herself."

“People would say, ‘You can’t make your daughter a doctor'. But my daughter proved everyone wrong and got admission in a government-run medical college," he added, breaking down. A relative tried to console him.

The mother recalled how her daughter would write in her diary every night before going to bed.

“She wrote that she wanted to win a gold medal for her medical degree. She wanted to lead a good life and take care of us too,” she said softly.

And she did.

The father, who is a high blood-pressure patient, said their daughter always made sure he took his medicines on time.

“Once I ran out of medicine and thought I’d just buy it the next day. But she found out, and even though it was around 10 or 11pm at night, she said no-one will eat until the medicine is here,” he said.

“That’s how she was - she never let me worry about anything."

Her mother listened intently, her hands repeatedly touching a gold bangle on her wrist - a bangle she had bought with her daughter.

Getty Images Resident doctors shout slogans protesting in front of the Health Ministry in Delhi, demanding justice for the doctor from Kolkata's RG Kar Hospital, on 19 August, 2024

The parents said their daughter’s marriage had almost been finalised. "But she would tell us not to worry and say she would continue to take care of all our expenses even after marriage," the father said.

As he spoke those words, the mother began to weep, her soft sobs echoing in the background.

Occasionally, her eyes would wander to the staircase, leading up to their daughter's room.

The door has remained shut since 10 August and the parents have not set foot there since the news of her death.

They say they still can't believe that something "so barbaric" could happen to their daughter at her workplace.

"The hospital should be a safe place," the father said.

Violence against women is a major issue in India - an average of 90 rapes a day were reported in 2022, according to government data.

The parents said their daughter’s death had brought back memories of a 2012 case when a 22-year-old physiotherapy intern was gang-raped on a moving bus in capital Delhi. Her injuries were fatal.

Following the assault - which made global headlines and led to weeks of protests - India tightened laws against sexual violence.

But reported cases of sexual assault have gone up and access to justice still remains a challenge for women.

Last week, thousands participated in a Reclaim the Night march held in Kolkata to demand safety for women across the country.

The doctor’s case has also put a spotlight on challenges faced by healthcare workers, who have demanded a thorough and impartial investigation into the murder and a federal law to protect them - especially women - at work.

Federal Health Minister JP Nadda has assured doctors that he will bring in strict measures to ensure better safety in their professional environments.

But for the parents of the doctor, it's too little too late.

“We want the harshest punishment for the culprit," the father said.

“Our state, our country and the whole world is asking for justice for our daughter."

Raped Indian doctor's colleague speaks of trauma and pain

Protest at indian railway station over alleged abuse of girls, india gang rape victim's death sparks outrage, the rape victim’s mum fighting for india’s daughters, what do delhi rape hangings mean for women.

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Mother India(1957)

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The TOI Entertainment Desk is a dynamic and dedicated team of journalists, working tirelessly to bring the pulse of the entertainment world straight to the readers of The Times of India. No red carpet goes unrolled, no stage goes dark - our team spans the globe, bringing you the latest scoops and insider insights from Bollywood to Hollywood, and every entertainment hotspot in between. We don't just report; we tell tales of stardom and stories untold. Whether it's the rise of a new sensation or the seasoned journey of an industry veteran, the TOI Entertainment Desk is your front-row seat to the fascinating narratives that shape the entertainment landscape. Beyond the breaking news, we present a celebration of culture. We explore the intersections of entertainment with society, politics, and everyday life. Read More

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मदर इण्डिया
मदर इण्डिया (अंग्रेज़ी: Mother India, उर्दू: مدر انڈیا) १९५७ में बनी भारतीय फ़िल्म है जिसे महबूब ख़ान द्वारा लिखा और निर्देशित किया गया है। फ़िल्म में नर्गिस, सुनील ...
Mother India
The first great Bollywood blockbuster, Mother India (Bharat Mata) a purposefully melodramatic musical, liberally laced with action, wit, humour and also a strongly socialist strain. May 24, 2003 ...
FILM IN REVIEW; 'Mother India'
Not rated, 175 minutes. A defining film in the history of Bollywood, the Hindi film industry based in Bombay, Mehboob Khan's ''Mother India'' (1957) is often said to have helped set the pattern ...
मदर इंडिया
नर्गिस (राधा) Nargis (Radha) फ़िल्म 'मदर इंडिया' में राधा की भूमिका के ज़रिए भारतीय नारी को एक नया और सशक्त रूप देने वाली नर्गिस हिन्दी सिनेमा ...
Mother India (1957)
Mother India: Directed by Mehboob Khan. With Nargis, Sunil Dutt, Rajendra Kumar Tuli, Raaj Kumar. In this melodrama, a poverty-stricken woman raises her sons through many trials and tribulations. But no matter the struggles, she always sticks to her own moral code.
Mother India (1957)
Join the Channel: http://bit.ly/JoinTheChannel-Jimmy Patreon: https://www.patreon.com/thejimmycage Subscribe: http://bit.ly/JimmyCage-Subscribe Twitter:...
Mother India
Mother India is quintessential popular Hindi cinema. Full Review | Original Score: 3/5 | Mar 18, 2013. As the mother, Nargis is as resolute as a force of nature, and Mehboob Khan creates tableaux ...
Mother India
Mother India is a 1957 Indian epic drama film, directed by Mehboob Khan and starring Nargis, Sunil Dutt, Rajendra Kumar and Raaj Kumar.A remake of Khan's earlier film Aurat (1940), it is the story of a poverty-stricken village woman named Radha (Nargis), who in the absence of her husband, struggles to raise her sons and survive against a cunning money-lender amidst many troubles.
मदर इंडिया कहानी
मदर इंडिया कहानी - Read Mother India Movie Story in Hindi, Mother India Synopsis, Mother India movie details, Mother India movie first look, review and Preview in Hindi and more in the online movie database of Filmibeat Hindi.
In times of "Bharat Mata", revisiting Mother India on the 60th year of
Mother India in 1957. Mother India was the most expensive film made in India within the mainstream Hindi film industry. It also earned the highest returns at the box office among all Hindi films released around that time. Adjusted for inflation, Mother India still ranks among all-time box office hits.
Mother India (1957)
MOTHER INDIA मदर इण्डिया | Bharat Mata. Trailer. Directed by. Mehboob Khan. India, 1957. ... Movie Poster of the Week: Jahan Singh Bakshi's Top Ten Favorite Bollywood Posters ... The Mumbai-based cinephile and poster maven selects his favorite Hindi film designs. Adrian Curry 29 May 2020 2. Critics reviews Related films ...
Mother India (1957)
7/10. Mehboob makes Nargis "Mother India". wes-connors 4 June 2011. In present day India, elderly mother Nargis (as Radha) is reluctant to attend the ceremony opening a new water canal for her village. Eventually agreeing, the old woman recalls her life We begin with Ms. Nargis' marriage to Raaj Kumar (as Shamu).
Mother India
Mother India. Monday 10 September 2012. Share. ... music and dance in Hindi cinema. One striking feature of this monumental landmark film is the skill with which the plot is unfolded (get out ...
Mother India Bollywood Movie Review in Hindi
मदर इंडिया समीक्षा - Read Mother India Bollywood Movie Review in Hindi, Mother India Critics reviews,Mother India Critics talk & rating, comments and lot more updates in Hindi only at online database of Filmibeat Hindi.
Mother India Reviews
Mother India is a 1957 Hindi epic melodrama film, directed by Mehboob Khan and starring Nargis, Sunil Dutt, Rajendra Kumar, and Raaj Kumar. A remake of Khan's earlier film Aurat , it is the story of a poverty-stricken village woman named Radha who, in the absence of her husband, struggles to raise her sons and survive against a money-lender amidst many troubles.
Mother India (Film)
Analysis: Mother India was a remake of Mehboob's own hit talkie Aurat (Woman, 1939), inspired by the Hollywood film The Good Earth (1937). Aurat's success helped Mehboob to set up his own studio, which featured a hammer and a sickle in its logo.1 Although it is often taken to be a sign of communist propaganda, Mehboob's use of the hammer ...
Mother India Review
02 May 2002. Running Time: 175 minutes. Certificate: U. Original Title: Mother India. When this masala masterpiece was released in 1957, director Mehboob Khan was considered the Cecil B. DeMille ...
Mother India (1957)
Mother India 😭 (1957) - Movie Review In Hindi 💞 || Mother India Full Movie Review MOVICAL TV,Thank You 😍For Watching 💗MOVICAL TV,#mother #motherindia #mo...
Mother India Movie: Showtimes, Review, Songs, Trailer, Posters, News
Mother India is a Hindi movie released on 14 February, 1957. The movie is directed by Mehboob Khan and featured Nargis, Sunil Dutt and Rajendra Kumar as lead characters. Other popular actors who ...
Mother India Movie (1957)
About Mother India Movie (1957) Radha (Nargis) belongs to a poor farmer's family, and marries another farmer Shamu (Raaj Kumar). They have two sons, and soon come into conflict with Sukhilala (Kanhaiya Lal), a greedy moneylender. However, no matter the struggles, Radha always sticks to her own moral code and refuses to sacrifice her integrity.
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Mother India 1957 Full Movie
Subscribe to our Movies Heritage:http://goo.gl/0Ygl1zMovie : Mother Inida (1957)Starring : Nargis ,Sunil Dutt , Rajendra Kumar , Raaj KumarDirected : Mehboob...
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Mother India(1957) : Mehboob : Free Download, Borrow, and Streaming
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'Mission Mangal,' starring Akshay Kumar, premiered on India's Independence Day in 2019 and became a commercial hit. The movie, based on ISRO's Mars Orbiter Mission, received praise from ISRO ...
Shraddha Kapoor's Stree 2 is now the 9th biggest Hindi film ever
Shraddha Kapoor and Rajkummar Rao's Stree 2 has become the 9th biggest Hindi film ever, surpassing the lifetime collections of Tiger Zinda Hai and PK. With a total collection of Rs 341.65 crore ...

FILM IN REVIEW; 'Mother India'

राधा बनीं थीं नर्गिस

सुनील दत्त बने बिरजू

मुख्य कलाकार

टीका टिप्पणी और संदर्भ

संबंधित लेख

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