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In classics like Mullum Malarum (1978) or Mannan (1992), the mother figure (or sister-figure) is a suffering, selfless entity. Her silent tears fuel the hero’s anger, ambition, or romance. The romantic storyline often begins because of the mother. The heroine is not just a love interest; she is a solution to the mother’s sorrow. For example, in Annaiyin Aanai (never released but a staple in scriptwriting folklore), the hero falls in love only to fulfill his mother’s last wish.

Films like Paruthiveeran (2007) show a mother who adores her reckless son but curses his romantic choice. The mother’s prophecy—that the heroine will ruin him—becomes a self-fulfilling doom. Here, the mother is not the benign goddess but the unconscious architect of the tragedy.