Meenakshi Seshadri on saas-bahu portrayals: 'Ghar Ho To Aisa' revisited
Synopsis
Key Takeaways
Veteran actress Meenakshi Seshadri has spoken out about how Indian cinema has long depicted the mother-in-law and daughter-in-law relationship — almost invariably through a negative lens. The actress, best known for her role in Damini, shared her thoughts alongside a nostalgic video recreating a song from her 1990 film Ghar Ho To Aisa.
What Meenakshi Seshadri Said
In a caption accompanying her dance video, Seshadri wrote: “The relationship between a mother-in-law and her daughter-in-law has often been portrayed with a negative flavor in Indian cinema.” She added that she personally wishes married women and their mothers-in-law could develop “a beautiful relationship, just like a real-life mother and daughter.” The remarks have resonated with fans who grew up watching her films.
About Ghar Ho To Aisa and Her Role
In Ghar Ho To Aisa, Seshadri played Seema Kumar, the strong-willed wife of Amar, portrayed by Anil Kapoor. Her character was written as a fearless daughter-in-law who challenged domestic mistreatment head-on. Veteran actress Bindu played the film’s antagonistic mother-in-law — a role that became one of her most memorable. The film blended exaggerated comedy, melodrama, and karate sequences to dramatise the household conflict, making it a distinctive entry in 1990s Bollywood.
The Nostalgic Dance Video
Seshadri shared a video of herself recreating the song ‘January February’ from the film, dressed in a stylish co-ord outfit. The original track was sung by Asha Bhosle and Mohammed Aziz, with music composed by Bappi Lahiri and lyrics penned by Majrooh Sultanpuri. The clip offered fans a nostalgic glimpse of the popular number and quickly drew attention online.
The Broader Saas-Bahu Narrative in Indian Cinema
The saas-bahu dynamic has been one of Indian popular culture’s most enduring — and most contested — tropes, spanning decades of films and television serials. Critics have long argued that such portrayals reinforce stereotypes rather than reflect the diversity of real family relationships. Notably, Ghar Ho To Aisa was later remade in Telugu as Attintlo Adde Mogudu, indicating the story’s cross-regional appeal. Seshadri’s comments invite a fresh conversation about whether mainstream cinema has evolved in its treatment of this subject.