TeaNo doubt this is Suchitra Sen’s 1966 film love of a mother Captures the essence of motherly love. But the Asit Sen-directed film also poignantly captures the class struggle, prejudice against women, the value of human life and portrays relationships that are not bound by societal definitions.
Hindi remake of Bengali film North Phalguni (1963) by the same director, love of a mother One of those films is its female protagonist – in this case Suchitra Sen, who plays a dual role of mother and daughter. Sen is the grandmother of actresses Riya Sen and Raima Sen. The film also stars Ashok Kumar and veteran actors. A young Dharmendra.
Ahead of Suchitra Sen’s birthday on 6 April, ThePrint revisits this classic.
The story revolves around resilient mother Pannabai (Suchitra Sen), a famous courtesan in Lucknow. Her abandoned and abusive husband, Rakhal (Kalipada Chakraborty), frequently visits her. room Tried to blackmail her and take away their young daughter Suparna.
In an effort to give her a better life, Pannabai tries to get her daughter admitted to a prestigious convent boarding school, but is refused by the principal because of Pannabai’s profession.
The film then dives into Pannabai’s past as she narrates her story to the principal. Before becoming a courtesan, she was Devyani, who grew up in a debt-ridden family with a single father. She was in love with Monish (Ashok Kumar). But their promise of eternal love and companionship is broken when he leaves for England to become a barrister. In his absence, Devayani’s father gets her married to Rakhal to pay off the debt.
Devayani finds herself in an abusive and unhappy marriage. She runs away with her daughter one day with the intention of killing herself. But is saved by Meena Bai, a brothel owner, which marks her transformation into who she is now.
The principal agrees, but puts forward a condition – the young girl cannot be in contact with her mother. Pannabai accepts.
Monish comes back into Pannabai’s life as soon as Suparna leaves. The second half of the film explores whether she will be able to find her way back to her former lover and her daughter.
Even with all my might, love of a mother Tyagi is part of a long list of Hindi films glorifying the mother. From Mother India To WallThese films reinforced the idea of an ideal mother – one who is willing to sacrifice her identity and dreams in the best interest of her children.
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subtle but powerful acting
Suchitra Sen’s range as an actor – a talented dancer, a resilient mother, a fiery lover – is on full display. And as a tragedy queen, she gives a tough competition to Meena Kumari.
When it comes to her role as the elder Suparna, she is almost unrecognizable from her time on screen as Pannabai. If you are not familiar with the face of a young Suchitra Sen, you might mistake them as two different people.
Ashok Kumar has played the role of weak but kind hearted Monish. He plays a faithful lover, but his doubts are portrayed with dexterity upon seeing how Devayani has become Pannabai. In typical Bollywood fashion, his turmoil melts away in a song.
Dharmendra has a small role as Suparna’s lover, but plays an able partner in all her dilemmas and internal conflicts.
The commentary on class is subtle but effective. This first appears in Devyani and Monish’s relationship. His mother objects to their relationship as her family is of higher social status than his. Asit Sen also contrasts society’s attitude towards an ‘educated’ woman and a prostitute – as if a piece of paper decides how human you are.
Suchitra’s role as a courtesan is meticulously portrayed. Unlike many Hindi films in the later era, it does not confuse the role of a courtesan with the role of a courtesan. This shows Pannabai as a trained classical singer and dancer and someone who mainly performs these art forms.
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soulful tune
One cannot talk about the film without mentioning the scintillating music of the film. Old Hindi film songs were seamlessly woven into the story and were not mere distractions like they are today.
When Monish’s friend invites Pannabai to sing to prove how she has become a tawaif, Monish listens from behind the scenes. The feeling of hatred is visible. Pannabai sees his face and sings – Whose ever lived. She sings, “Those who claimed sympathy, never came and asked about their condition. We have been invited to the gathering, like sitamgaron to laugh, It translates to “those who claimed sympathy, never came and asked about my condition, have been invited to a gathering to laugh at me”.
The song, which describes how she feels better than any dialogue could possibly, forces Monish to reflect and understand her mistake. Lata Mangeshkar’s voice, Majrooh Sultanpuri’s lyrics and Roshan’s music are a perfect combination for such a soul-stirring response.
another memorable song we don’t stay which rings when the young lovers part for the first time.
(Editing by Therese Sudip)