![]() She has obviously gotten accustomed to playing the middle-class mother figure through her turns in Ashwini Iyer Tiwary's 2017 film Bareilly Ki Barfi and RS Prasanna's Shubh Mangal Saavdhan more recently. The best part of the film, undoubtedly, is Seema Pahwa. These work well as silent jabs at Asha's countless sacrifices. There is also a passing mention where he says he quit cricket, a sport he was good at, because of " grahasti" (domestication). There are numerous remarks by Asha's husband that allow the audience to peek into his patriarchal mindset. ![]() Asha is taken aback by Bittoo's response as she realises both the father and daughter assume she is dependent on them, whereas it is actually the other way round. Bittoo responds by saying, " Kyun, main aapka khayal nahi rakh sakti kya?" (Can I not take care of you). Eventually, she manages to seek happiness within the existing framework, but without compromising on her self-respect or strangling her desires.Īn early insight into the daughter's attitude towards mother comes early in the film when Asha tells Bittoo that her father insisted on coming along by arguing, " Tum apna khayal kaise rakhogi?" (how will you take care of yourself?). But she takes her happiness into her own hands, without depending on either her husband or even her daughter. Without giving spoilers, she does not take drastic steps like the women did in the two films discussed above. The rest of the film documents her journey from " main theek hu" to " sab theek hai" (everything is fine). Asha, realising that her daughter is also not supportive of her plight, tells her, " Main theek hu" (I am fine)." She requests Bittoo to let her stay with her but Bittoo (probably fearing the loss of her independence) tells Asha she is overthinking, and should stop crying over " itni si baat" (a minor issue). Later at night, when Bittoo asks her mother why she cannot sleep, Asha explains to her how she cannot live with her father given his unrelenting demands and nagging. The film starts with Bittoo's parents visiting her in Delhi, where she works away from her hometown. In Everything Is Fine, the mother Asha (Seema Pahwa) is in an unhappy marriage, and her otherwise supportive independent daughter Bittoo (Palomi Ghosh) rebukes her instead of consoling her. In Thappad, the daughter Amrita's (Taapsee Pannu) grouse with her husband was not received very warmly by her mother (Ratna Pathak Shah), which showed how women also perpetuate patriarchy in some cases. And now, in the year of our lord 2022, Netflix still has Lohan in a familiar role that moves her from naïve to slightly less so.Gerald Butler's Kandahar movie review: Mindless action film without a soul Transformers: Rise of the Beasts movie review - Generic & predictable storyline is saved by adrenaline action sequencesīut it boasts of novelty in the mother-daughter relationship. Lindsay Lohan is 36 now, almost two decades older than she was when she was tormenting Regina George in 2004 or when she was impulsively trying to prove her worth as the youngest race car driver in her family in 2005. But this new Netflix Christmas movie is making me suspect that Hollywood doesn’t trust her enough to really help her show it. I’m not the first one to maintain that Lindsay Lohan is good at what she does. ![]() If you check her IMDB, you’ll see that despite all of this life drama, she’s gotten work consistently-even if that work has been of uneven quality. She has suffered many falls from grace, which have been overly documented via insanely invasive paparazzi and, later, her own increasingly WTF social media presence. Lohan aged into the troubles we’ve come to expect of an incredibly successful child actor. It’s no secret that life never really returned her the favor. She made the process seem fun and whimsical, full of adventure and one-in-a-million experiences, like finding your long-lost twin or becoming friends with your favorite pop star. As I was growing up, so, too, was Lindsay Lohan, my on-screen companion. ![]()
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