13.05.2026
SPOILER ALERTS
Coming from a society that worships The Mother, where the duty is to be the son and lover of The Mother, I have written before about how the traditional Indian film has protested against the sexual repression of the West and its law which is based on an Asian Mother phobia. This phobia of the Asian mother reveals that The Mother is the Other to Western law, which is misogynistic and fears maternal or feminine authority. https://cafedissensus.wordpress.com/2022/05/30/there-is-no-bad-mother-beta-and-the-indian-mother-law-against-the-wests-asian-mother-phobia/
More and more, as I watch current films and watch current movies, I am learning just how far this misogyny and phobia of the mother goes in Western culture, or its unconscious legal culture. I am currently reading the Skandar the Unicorn books. The author worked in the law. Guess who is the villain in the first two books (I have only just begun the second one)? It is The Mother.
I watched ‘Polite Society’ the other day. Aside from the usual racism in these films about British Asian people – i.e. the British Asian man can never get married in these films because ‘there is something wrong with him’, guess who was the villain? It was The Mother. And the film spent all of its time making the mother/son bond loathsome as well through the eyes of the spoilt and Westernised British Asian female in it that seemed to hate the culture of the older generation.
Today I watched ‘Mardaani 3’, a cop film. Guess who was the villain? You guessed it. The character that was named ‘Amma’, or The Mother. And guess what? The Asian man in the film was also a villain because of the maternal relationship between himself and The Mother.
Mardaani 3 is worth analysing. The Mother comes from a poor family and has a Haryanvi dialect accent which suggests the rural. While no one is saying that she is a good character, because she is a child trafficker, the point is how the law in the form of the film’s heroine finishes her. She is shot in the throat. And then, when she can’t answer back, and the law has silenced the voice of this poor woman, the heroine of the film gives a big monologue. Same with the son. He comes from the poor. And he is also silenced when he is finished. The whole point of these films is to silence the poor Mother and the son that loves her and protects her.
Why am I talking about Indian films alongside British Asian films and British Literature? Because India was colonised and Western law was forced on us. This misogyny comes from the West. However, there are still sons that come from poor mothers. I am one of them. We will not accept this misogyny because we have sworn to protect our mothers. I represent the Indian national movement. I was named after the son that married Mother India. Against the hatred of The Mother and this legal culture, we stand for dharma, the organic law of India. I have modelled myself on my mother, the poor, foreign woman. The poor Indian woman. I am her voice. Even when the whole of this Western culture and its law is against us, wants to silence us. Because as I have written before, the dharma is the Mother-Law. We will never stop worshipping The Mother. Just like The Dark Mother stood as a symbol of Revolution against the Imperialists, so we still stand. We are the rivals of the oppressions and injustices of the Western law, its marginalisations and suppressions. Jai Maa Kaali!
diary of a lone man 