Mother in the Hindi films had already made their mark through prose writing or the dialogues, evident from the famous dialogue of DEEWAR, " mere paas maa hai"', and from then on mothers have formed the fulcrum of the way a story of the Hindi film evolves. Such has been the fixation of mother as a subject that countless times it has been interpreted and still fresh innovations continue to salute the institution of motherhood. Now one more name has been added to this illustrious list of those who have given their salutations to the institution of motherhood, it is Prasoon Joshi. His lyrics " Meri Maa"', in TAARE ZAMIN PAR is triumph of his contribution to mothers, and its celebration was manifested by it being featured as the best lyrics in the Filmfare Awards 2007.
While earlier attempts of communication between a mother and a child have been associated with the naughty behaviour of the child and its admonition by the mother through the lyrics, here in this song is invocation about insecurity that a child faces when her mother is not around, more so when the child has to confront inky While the song on the surface level, may appear as the sense of loss which a small child experiences, many an adult also have been touched by the subtle nuances and the power that Prasoon Joshi put in his lyrics. In fact the first inkling of a new interpretation about the status of mother was shown by Prasoon Joshi in RANG DE BASANTI through his lyrics, " Luka Chuppi", which on the one hand conveyed the symbiotic relationship that a mother has with the child, and the power that she draws through her umbilical link to invoke upon the child to return back home, harking back upon the old times when child used to return back home after playing.
The existentialist dilemma of modern times used in a metaphoric manner in this song from RANG DE BASANTI find exquisite manifestation through the lyrics, "Maine jharne se pain tod ke piya hai, guchcha guchcha kai khwabon ko uchchal ke jiya hai". Here is a child who on account of his job and the pressure of modern times, is not able to meet his mother as much as he could desire, so he tries to couch his helplessness through material delights and is happy at the place where he is now. At the surface level the lyrics is from a child who has gone to heaven, but the subtlety indeed portrays the existentialist manner the ignominy of existence of modern times where as a child when he is not able to meet her mother tries to hide his despair through material disposition. Here the distilled manner in which Prasoon Joshi has used lyrics harks back to the mastery, which Gulzar used in similes, which a common man would not think of, but when it is revealed would be thrilled to experience it. Where can one drink water by plucking it off from a waterfall, but Prasoon's invocation encourages doing so.
Prasoon Joshi, which would be characterized by hitherto unused similes, has started indeed a new phase of Indian lyrics and his triumph would be in the form of individual album.
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