Every once in a while there comes a motion picture which helps the industry to cover the mile to the milestone. Mehboob's magnum opus, Mother India, an intensely emotional drama and superb performances, is one such film, in spite of its defects.

The film is a remake of Mehboob's earlier hit Aurat (1940), and the story is of perennial interest in a country where drought and famine are almost seasonal visitors. The new version, however, has been brought up-to-date. It is prefaced by a few glimpses of the monumental efforts that are being made by the government to rehabilitate the nation. Thus, the film begins where the earlier one left off.

The picture opens with Nargis, a wizened old woman, declaring open a canal. Dominating the background of pleasant countryside are the symbols of a new awakening--cranes, trucks and tractors.

The story is told in flashback. In a reminiscent mood, Nargis recalls her happy marriage, her efforts to eke out an existence without compromising her honor, and her utter disillusionment when one of her sons, for whose sake she had sacrificed so much, becomes a dacoit.

The backdrop of this highly emotional drama is a peaceful village--so peaceful that it appears as though it is unsympathetic only to one woman. For, only Nargis appears to be singled out to suffer and to face grim happenings. It is unthinkable that a woman who has always stood by justice and who was able to stop a mass exodus from the village could not get a morsel of food for her starving children in her hour of distress.

The accent is on melodrama throughout the film, except in the early passages, which, though inconsequential, have almost a lyrical quality. One melodramatic sequence is piled upon another and the story is relentless in its exposure of the evil in men.

But one cannot commend the writer for the brutality and violence with which he makes the characters achieve their objects. However noble the end may be, it does not justify the means. A mother killing her own son to save the honor of another woman, and a son demonstrating his love for his mother by killing her chief tormentor are not ideals to be held up in a mass medium like the film. In view of this, the title Mother India sounds pompous and misleading.

Despite the almost bestial behavior of the pivotal characters and their tendency to be over-dramatic, in a way Mother India is still a classic. The emotional sweep of its theme, the magnificence of its rich, colorful background and the zestful performances of the pivotal characters overshadow its defects. An intensely moving film, it will undoubtedly leave an indelible impression on moviegoers.

Mehboob displays a rare understanding of the hopes and aspirations of the simple villagers in the long preamble to the film and gives it almost a poetic appeal. But in the second-half, in which drama takes firm root, Mehboob shows a tendency to lay undue stress on melodrama. In spite of this lack of balanced treatment, there are many memorable scenes in the film, and the climax especially, in which Nargis shoots her errant son, is unsurpassable for its dramatic impact.

Music assumes a special significance in a film of this type, and it is regrettable that it has in no way enhanced the appeal of this emotional drama. In fact, none of the songs bring credit to Naushad, top maestro of the Indian screen. Besides, the songs are too many and generally ill placed.

Photographed in Gevacolour with prints by Technicolor, Mother India presents beautiful, though at times dramatically meaningless vignettes of the countryside. But it is in the filming of the dramatic passages that cameraman Fareedoon Irani shows his craftsmanship. The sound recording, the sets, the decor and the costumes are all of a high standard. But in the editing, the make-up and the dialogue, one feels there is much to be desired.

The piece-de-resistance, however, is the magnificent performance given by Nargis. As the mother whose indomitable spirit cannot be scorched even when nature and man conspire against her, the First Lady of the Indian screen puts over the most memorable performance of her long and illustrious career. Sunil Dutt as her errant son is badly directed for the best part of the film. But in the last few sequences he comes into his own and is convincing.

Kanhaiyalal, who plays the role he played 17 years ago in Aurat, is theatrical in the most dramatic sequences in the film and does nothing to prove that artistes attain maturity with the passage of time.

Rajendra Kumar, who plays the role of the good son, is extremely photogenic and does his bit well. Raj Kumar, cast as the weak-willed husband who deserts his wife in her hour of need, is superb. Kum Kum, Chanchal and the attractive newcomer, Azra have little to do, but they lend charm to the picture with their effortless portrayals. Mukri and Jillo Maa are responsible for routine performances.

A surprise cameo comes from Sajid, the loveable moppet who makes his debut in this picture. Under Mehboob's deft direction, this gifted boy has shown that at his tender age he is a potential threat even to consummate artists like Nargis.

Mehboob's Mother India, in spite of its abnormally long running time and its grim approach, is a film that will be remembered for a long time to come.

This review has been editied from the Filmfare (November 1957) archives. We present a review of an imperishable film, which was feted, by the public and critics alike. Mother India continues to draw full houses whenever it is revived. Cutting through generations and fast-changing tastes, it is indeed a landmark in the history of Indian cinema.

Mother India, released in 1956, is a real superb film in all aspects and has an eternal impact. Its artistic values have not lost the slightest impression during the last more than four decades of its existence. It was one of the five nominees for the Best Foreign Film at the Academy Awards. Its artistic values and immortal status has inducted it into Sangeet Mahal's Hall of Fame.