7. Sarah Conner in Terminator 2: Judgement Day (1991)

Sarah Conner, played by Linda Hamilton, may be the true badass of the Terminator series. In Terminator 2: Judgement Day, directed by James Cameron, Sarah has transformed from a somewhat helpless character in the first Terminator film into a badass mom whose one goal in life is now to protect her son John from Arnold Schwarzenegger’s robot assassin character. Her personality and biceps have evolved, and she has morphed into a serious citizen soldier. She is, however, not a robot, so she has to be as mentally sharp as she is physically strong in hopes of outwitting Schwarzenegger and crew. The viewer mostly sees her acting on her own since the son she is trying to protect is no longer a child, but the severity of her intense love can be felt throughout the entire film. Sarah demonstrates intense physicality and is willing to make the ultimate sacrifices to keep her son alive at any cost, even her own life, if necessary. 

6. Molly Weasley in Harry Potter (2001-2011)

 Molly Weasley, played by Julie Walters, is a powerhouse stay-at-home mom. Appearing in all but one of the Harry Potter films, she not only manages her gang of seven children but also finds the time and space in her heart to act as a mother to Harry and practically adopt him into the Weasley family. Molly is an expert at domestic spells and uses them to protect and provide for her family. She is extremely kind-hearted, full of love, and isn’t afraid to show it with a big hug or Christmas sweater.  Molly does run a tight ship, however, and doesn’t allow any of her children to slack off, be rude, or shy away from doing the right thing, even if it could be dangerous. She can be overprotective but always puts doing what’s right over playing it safe. The Weasleys are not a family with means, but Molly’s resourcefulness and upbeat attitude persist even through tough times. She values her children more than anything and finds family her greatest treasure. 

5. Elaine Miller in Almost Famous (2000)

At first glance, Elaine Miller, played by Francis McDormand, seems much like an antagonist. In Almost Famous, directed by Cameron Crowe, Elaine is often anxious, brutally honest, and controlling; however, upon closer inspection, her annoying or even frustrating actions are really just her looking out for her son out of immense love and care. Despite permitting her son William Miller, who is 15 years old in the film, to galavant around America with a tour bus full of rock stars, she checks in on him often, not allowing him total freedom and, of course, reminding him not to do drugs. While to a teenager, this might seem stifling and lame, what Elaine was really doing was encouraging her son to pursue his dreams, of being a music journalist, in a somewhat safe environment, even if that meant having to check in on him and give some “motherly talks.” 

4. Violet Newstead in “9 to 5” (1980)

Violet Newstead, played by Lily Tomlin, is a widow with four children who can never seem to move up the corporate ladder despite her hard work. In 9 to 5, directed by Colin Higgins, Violet is a dedicated and knowledgeable long-time employee of Consolidated Companies and a huge proponent of a fair workplace environment. She is constantly frustrated with employees being undervalued and underappreciated and the recurring favoritism and sexism shown at the office. She is talked down to and treated poorly by a Franklin Hart, who she had previously trained. She befriends and commiserates with two of her female coworkers when she is passed over for a big promotion at Consolidated Companies. Together, they devise a plan to see that Mr. Hart gets what he deserves. She is an ingenious, very capable single parent and is one of the masterminds who decide the little people, especially these three women, are not going to take it anymore. 

3. Manuela Echevarria in Todo Sobre Mi Madre (1999)

Manuela Echevarria, played by Cecilia Roth, is a nurse who possesses an unconditional love for her son Esteban. In Todo Sobre Mi Madre, directed by Pedro Almodovar, Manuela accepts and supports him. When Esteban dies tragically on his 17th birthday after being run over by a car while chasing after Huma Rojo for her autograph following a performance of A Streetcar Named Desire, Manuela agrees his heart should be transplanted for another patient to live. After she resigns from her job as a nurse goes on a journey to Barcelona to find Esteban’s father, who he never knew, to inform him about their son’s death. She finds Esteban’s father, who is now Lola, a transgender woman whom Manuela had never told about their son. Manuela’s life soon becomes intertwined with many in Barcelona, eventually adopting another child showing her care as a mother once more. [/caption]

2. Stella Dallas in Stella Dallas (1925, 1937, and 1990)

Stella Dallas, the titular character in the novel by Olive Higgins Prouty and the subsequent film adaptations, is a controversial character because of her choices as a mother. While some may argue that she is not a good mother, there are compelling arguments to suggest otherwise. Stella Dallas has been played by three different actresses across the three films Belle Bennett in 1925, Barbara Stanwyck in 1937, and Bette Midler in 1990. All three films center around Stella and her relationship to her daughter Laurel or Jenny in the 1990 version. In the 1937 film, despite her flaws and her lack of “refinement” coming from a poor background, Stella is fiercely protective of Laurel and dedicates her life to her well-being. She desperately wants her daughter to be better off than her. Stella recognizes her daughter’s talents and abilities and works to cultivate them, even if it means putting her desires and needs aside. Throughout their marriage, her wealthy husband Stephan tries to teach Stella how to be a part of “high society,” but to no avail. Eventually, Stella and Stephan divorce after a long time of separation, realizing that he wants to marry his girlfriend, Helen. Stella sends Laurel to live with newly married Helen and Stephan, thinking it would be best for her daughter since Stella is not up to class status. When Laurel realizes the arrangement and wants to move home because she loves her mother, Stella pretends to want nothing to do with her daughter. Heartbroken, Laurel goes back to live with her father and stepmother. Stella watches her daughter from afar after that but never stops taking an interest in Laurel’s. In the final scene, Stella stands outside in the rain, watching her daughter exchange wedding vows. Her presence goes unnoticed in the darkness. Other curious people watch the wealthy couple marry. Stella gets asked to move along by a police officer. She stays watching Laurel’s veil get lifted before turning around to walk away, having secured her daughter’s future. 

1. Morticia Addams, The Addams Family (1964)

Morticia Adams, played by Angelica Huston, is a loving wife, mother, and matriarch of the Addams Family. In The Addams Family, directed by Barry Sonnenfeld, Morticia and her husband Gomez have an outwardly romantic relationship. Together, they provide an intense example of how to treat others to their children, Pugsley and Wednesday, and other extended family members. Morticia leads by example and teaches her children that being unconventional is just fine as long as you are true to yourself. Her uniqueness allows her to embrace the differences in her children and is what today may be referred to as “gentle parenting” as opposed to “helicopter parenting.” Morticia allows her children to experiment with what could only be called dangerous items today, and when they do cross the line in their behavior, she often asks them why they are behaving that way. Very engaged and caring but with a total open mind makes Morticia possibly most children’s perfect mother.

Conclusion

These mothers never gave up on their children or themselves. They were at times under-appreciated as mothers often are; however, their devoted and unconditional love always showed through. Although motherhood only defines part of a person, it does occupy a large part of their lives both on film and off.