Cinema has long been a powerful medium to challenge societal norms, and both The Great Indian Kitchen (2021, Malayalam) and Mrs (2024, Hindi) attempt to shed light on gender roles and the oppression women face within traditional marriage structures. However, while both films tackle similar themes, The Great Indian Kitchen stands out as a more powerful, immersive, and hard-hitting experience compared to Mrs, which, despite good intentions, falls short in its execution.
The Great Indian Kitchen, directed by Jeo Baby, is a masterclass in subtle yet gut-wrenching storytelling. The film follows a newlywed woman (Nimisha Sajayan) who gradually realizes the suffocating nature of her marriage. The monotony of housework, the indifference of her husband and in-laws, and the dehumanization of her identity are depicted with such realism that it becomes an almost visceral experience for the audience. There are no over-the-top dialogues—just the repetition of everyday chores, making it painfully relatable.
On the other hand, Mrs, starring Sanya Malhotra, attempts to present a modern, urban take on a woman’s fight for identity within a patriarchal setting. While the premise is promising, the film leans heavily on dramatic dialogues and predictable conflicts rather than relying on the subtleties that made The Great Indian Kitchen so haunting. Mrs presents its protagonist’s journey with a more polished, commercial approach, which, while engaging, doesn’t quite deliver the same emotional punch.
Sanya Malhotra in Mrs is undoubtedly strong in her role, but the writing doesn’t allow for the same depth of transformation. Her character’s journey feels somewhat rushed and formulaic, making it harder for the audience to truly immerse themselves in her struggle.
Jeo Baby’s direction in The Great Indian Kitchen is meticulous. The cinematography focuses on the daily grind—chopping, cooking, cleaning, serving, and then repeating the cycle endlessly. The close-up shots of oily kitchen sinks, the clatter of utensils, and the mechanical nature of household chores make the audience feel the protagonist’s suffocation. The film’s silence is deafening, forcing viewers to absorb the sheer exhaustion of domestic oppression.
Mrs, directed by Arati Kadav, has a more conventional Bollywood-style execution. The film is well-shot, and the production design is slick, but it lacks the raw intensity that makes The Great Indian Kitchen unforgettable. Instead of letting the audience experience the protagonist’s reality, Mrs tends to explain it, making it less impactful.
Both films raise important questions about gender roles, the expectation of women to conform, and the battle for autonomy. However, The Great Indian Kitchen does it with a quiet rage that stays with you long after the credits roll. It doesn’t rely on grand speeches; instead, it forces the audience to sit in discomfort and truly understand the oppression that millions of women face daily.
Mrs tries to deliver a similar message, but it does so in a more direct, mainstream-friendly way, making it a less powerful critique of patriarchy. While it succeeds in addressing the issue, it doesn’t push the boundaries as effectively as The Great Indian Kitchen.
While Mrs is a well-intentioned film that highlights an important issue, it ultimately pales in comparison to the brutal honesty of The Great Indian Kitchen. The latter is a cinematic experience that forces you to confront uncomfortable truths without the need for excessive drama. If you’re looking for a film that truly challenges the status quo and lingers in your mind long after watching, The Great Indian Kitchen is the clear winner.
Also, keep an eye on Jeo Baby—he has crafted some extraordinary films that will leave a lasting impact on audiences.
~ Dawn
No comments:
Post a Comment