The title of the film was chosen to counter American author Katherine Mayo's 1927 polemical book Mother India, which vilified Indian culture. Mother India metaphorically represents India as a nation in the aftermath of its independence in 1947, and alludes to a strong sense of Indian nationalism and nation-building. Allusions to Hindu mythology are abundant in the film, and its lead character has been seen as a metonymic representation of an Indian woman who reflects high moral values and the concept of what it means to be a mother to society through self-sacrifice. While some authors treat Radha as the symbol of women empowerment, others see her cast in female stereotypes. The film was shot in Mumbai's Mehboob Studios and in the villages of Maharashtra, Gujarat, and Uttar Pradesh. The music by Naushad introduced global music, including Western classical music and orchestra, to Hindi cinema.
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The film opens in the year 1957, the present day at the time of filming. When construction of an irrigation canal to the village is completed, Radha (Nargis), considered to be the "mother" of the village, is asked to inaugurate the canal. She remembers her past when she was newly married.
Several years later, Radha's two surviving children, Birju (Sunil Dutt) and Ramu (Rajendra Kumar) are young men. Birju, embittered since childhood by the demands of Sukhilala, takes out his frustrations by pestering the village girls, especially Sukhilala's daughter, Rupa. Ramu, by contrast, has a calmer temperament and is married soon after. Birju's anger finally becomes dangerous and, after being provoked, he attacks Sukhilala and his daughter and steals Radha's kangan (marriage bracelets) that were pawned with Sukhilala. He is chased out of the village and becomes a bandit. Radha promises Sukhilala that she will not let Birju cause harm to Sukhilala's family. On Rupa's wedding day, Birju returns with his gang of bandits to exact his revenge. He kills Sukhilala and kidnaps Rupa. When he tries to flee the village on his horse, Radha, his mother, shoots him. He dies in her arms. The film returns to 1957, the present day; Radha opens the gate of the canal and its reddish water flows into the fields.
According to Indian film scholars Gokulsing and Dissanayake, while aspiring to traditional Hindu values, the character of Mother India also represents the changing role of the mother in Indian cinema and society in that the mother is not always subservient or dependent on her husband, refining the relationship to the male gender or patriarchal social structures.[47] The New Internationalist said in a 1999 review that Radha transforms from a submissive wife to an independent mother, thereby breaking female stereotypes in Hindi film.[48] In contrast, in a 2012 article in the newspaper The Hindu, author Tarini Sridharan has pointed out themes such as upholding female chastity, wifely devotion and saintly motherhood that reinforce gender stereotypes.[49] While the action of sacrificing motherhood to uphold a woman's dignity is termed as feminist by some, other authors see it as an attempt of a community woman to protect the patriarchal village structure, that esteems izzat (honour) of women.[49] A promotional pamphlet to introduce the social context of the film to western audiences described Indian women as being "an altar in India", and that Indians "measure the virtue of their race by the chastity of their women", and that "Indian mothers are the nucleus around which revolve the tradition and culture of ages."[50]
In a 2002 article in The Village Voice, film critic J. Hoberman described the film as "an outrageous masala of apparently discordant elements."[87] He characterised it as a mixture of "indigenous versions of Soviet-style tractor-opera, Italian neo-realism, Hollywood kiddie-cuteness, a dozen Technicolor musical numbers, and, most significantly, a metaphoric overlay of pop Hinduism."[87] Hoberman criticised the acting as "broad", and also wrote about the "vaguely left-wing" nationalist overtone of the film.[87] Phill Hall, writing for Film Threat in 2002, described the film as exceptionally sluggish and one-dimensional, and lampooned it saying "it takes the strongest of constitutions to endure this film without entertaining notions of matricide."[88] Jonathan Romney of The Independent observed the earth-mother Radha as "India's answer to Anna Magnani" and the film as "an all-out exercise in ideological myth-making."[89] Women's Feature Service, in a 2007 article, noted Mother India as "one of the most outstanding films of the post-Independence era."[90] Ziya Us Salam of The Hindu wrote in 2010: "Mehboob was able to blend the individual with the universal, thereby enhancing the film's appeal without compromising on its sensitivity."[27]
Mother India is the earliest example of a Hindi film containing Western classical music and Hollywood-style orchestra.[104] An example is a coda during the scene in which Birju runs away from his mother and rejects her. It features a powerful symphonic orchestra with strings, woodwinds and trumpets. This orchestral music contains extensive chromaticism, diminished sevenths, and augmented scales.[105] It also features violin tremolos. Anne Morcom writes in Hindi Film Songs and the Cinema that the piece is unmelodic and "profoundly disturbing".[106] This use of a western-style orchestra in Indian cinema influenced many later films, such as Mughal-e-Azam (1960), which features similar dissonant orchestral music to create the atmosphere at tense moments.[105] The song "Holi Aayi Re Kanhai", sung by Shamshad Begum, and dance by Sitaradevi has been cited as a typical Hindi film song which is written for and sung by a female singer, with an emotional charge that appeals to a mass audience.[107]
Rajeev Masand of CNN-IBN notes that Mother India "didn't just put India on the world map, it also defined Hindi cinema for decades that followed."[124] Film critic Dave Kehr agrees that it influenced Indian films for the next 50 years.[51] A 1983 Channel 4 documentary on Hindi cinema describes the film as setting a benchmark in Indian cinema.[125] The shooting stance of Nargis at the end of the film is one of the all-time iconic images of Hindi cinema.[126] Other iconic scenes include Radha pulling the plough through the field (see film poster at the top) and feeding chapatis to her two sons as they pull the plough.[127] The Hindustan Times states that Nargis symbolised mothers in "which all the mothers [in later films] had the same clichéd roles to play. Representing both motherhood and Mother Earth, who also nurtures and occasionally punishes, Nargis immortalised the Indian mother on celluloid."[128] The film pioneered the portrayal of two morally opposed brothers personifying good and evil, which became a repeated motif in Hindi films,[129] including Gunga Jumna (1961)[130] and Deewaar (1975).[108] The rebellious Birju also inspired the "angry young man" stock character that arose in 1970s Hindi cinema.[130] According to scholar Brigitte Schulze, Mother India played a key role in shaping the young Republic of India's national identity in its early years following independence from the British Raj, due to how the film was able to successfully convey a sense of Indian nationalism to the urban and rural masses.[131]
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Haricharan Sheshadri, popularly known as Haricharan in the industry & by his fans, is an Indian playback singer, Carnatic vocalist, and musician who predominantly works in Tamil, Telugu, Malayalam, Hindi, Kannada, and English. Haricharan was born on 20th March 1987 in Chennai, Tamil Nadu, India into a musical family. His grandfather, P.S. Ganapathy, was the organizer of “Aalapanaa”, a mic-less Carnatic concert in the 60s. Haricharan’s grandmother, Smt. Alamelu Ganapathy is a national awardee in Mathematics, and she has been in academia for more than 35 years. His father, G. Sheshadri, is an artist through All India Radio, and also a bank employee. His mother, Latha, is a librarian in P.S. Senior Secondary School. He started learning Carnatic music at the age of 7 from Smt. Sethu Mahadevan. Later, he learned music from stalwarts like K.V. Narayanaswamy, T.M. Prabhavathi, and P.S. Narayanaswamy. When he was 17, Haricharan recorded his first Tamil song for the film Kaadhal in Joshua Sridhar’s music. He even went on to record three songs in his debut movie. Haricharan’s song Unakkena Iruppen was nominated for the National Film Awards in the year 2005. This song became widely popular back then and also gave a kick-start to his singing career. Post that, he has recorded many hit numbers for various music directors across the South. Haricharan became more popular after the release of his song Thuli Thuli. For his uber talent, Haricharan has bagged several accolades as well. Some of the most popular Haricharan Telugu songs are Ay Pilla, Ninnu Chudakunda Undalekapothunnanu, Dheemthana Dheemthana, Ye Chota Nuvvuna, Ay Pilla - Bit, Manasunipatti Daaram Katti, Chiru Chiru, Nee Choopule, Andhamaina Chandhamaama, and many more. While some people love listening to top Haricharan Telugu songs, some cannot miss out on the best Haricharan Tamil songs like Azhagiye, Thuli Thuli, Nillayo, Pookkalae Sattru Oyivedungal, Manamengum Maaya Oonjal, Arabu Naadu, and the list goes on. Download and listen to all-time hit Haricharan MP3 songs in high quality on Gaana.com. 2ff7e9595c
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