As a on-screen mom of some of a many renouned characters of Hindi cinema in a late 80s and 90s, Reema Lagoo brought a certain joie de vivre. With that, she pennyless a many tried-and-tested cover of weepy and sacrificing mom prevalent in Hindi cinema. Her performances were free and her shade appearances delightful. This, done her mount out even as she played mom to some of a Bollywood A-listers, including Salman Khan, Shah Rukh Khan, Sanjay Dutt, Akshay Kumar, Kajol and Juhi Chawla.
The fact that she binds a singular position in Indian cinema was clear from a fact that after a news of Lagoo’s remarkable passing widespread on Thursday morning, Bollywood — that has mostly drawn slam for being self-obsessed and agenda-driven — uttered a startle on amicable media. Politicians, as good as fans of a singer too, uttered their feeling of detriment and low indebtedness for a artiste, whose physique of work ranged from renouned Hindi and Marathi movies, Marathi plays as good as radio shows.
A renouned Marathi entertainment actor, Lagoo played her initial tasty purpose in Hindi cinema in Shyam Benegal-directed Kalyug (1981). Even nonetheless she featured in critically-acclaimed cinema such as Govind Nihalani’s Akrosh (1980) as a lavani dancer and Rihaee (1988), it is as a mom of Prem (Salman Khan) in Maine Pyar Kiya (1989) that she gained a standing of a renouned “Bollywood mother”. What worked in her foster was that her opening was unblushing by a vigour of being an grand shade mother. Instead, she had a mind of her possess and, many importantly, she was a crony to a immature lovers — Prem and his adore seductiveness Suman (Bhagyashree).
After a super success of Maine Pyar Kiya, she became a permanent tie in a Rajshri Productions such as Hum Aapke Hain Koun…! (1994) and Hum Saath-Saath Hain (1999). She also featured in some of a renouned Hindi cinema such as Saajan (1991), Kuch Kuch Hota Hai (1998), Jis Desh Mein Ganga Rehta Hain (2000) and Kal Ho Na Ho (2003). She slipped into a impression of a amatory nonetheless complicated mom in movies. What done these roles a pleasure to watch was a certain breeziness and a really agreeable celebrity that she offered.
Even as a mother-in-law she brought in a same proceed and mutation to her role. For example, she shares a intercourse with Aman (Salman Khan), who is intent to Anjali (Kajol) in Kuch Kuch. Sensing Anjali’s conflict, this singular mom even asks her daughter if she is happy with a choice she is making. Though not much-talked about, Lagoo delivered one of a heart-touching performances in Kal Ho Na Ho. She tries to put adult a clever front as a mom of terminally-ill Aman (Shah Rukh Khan) and also won appreciation for her short-hair look.
Just when it seemed like she is following a certain template, a renouned ancillary actor tender a critics with Vaastav (1999) — a mom who kills her mafiosi son, who is perplexing to run divided from a law and his demons. To gleam in this purpose was a tough act, generally when Nargis Dutt had given her iconic opening in Mother India (1957) as a mom who does not demur to lift a trigger on her dear son when he is in a wrong side of a law. Yet, Lagoo managed to make a impression of compassionate Shanta, vital in a Mumbai chawl, her own. Earlier, she even showed a meant strain as a determined mama in Yeh Dillagi (1994). In one of her final iconic ‘mother’ outings in a Marathi joke Jaundya Na Balasaheb, Reema Lagoo played an indulgent mom to an individualist Girish Kulkarni in a country setting, that brought out her understated grit.
Even as there is an escape appreciation, after her demise, over how Lagoo redefined a Bollywood mother, what is upsetting is that for a final few years her roles had shrunk and, even, reduced to caricatures. A box in point, a fractious aunt with a artificial Punjabi accent in we Love New Year (2015). Filmmakers could have tapped into their imagination when it came to Lagoo — an actor who hexed such an extraordinary range.
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