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Movie Name: Mrs.
Directed by: Aarti Kadav
Starring: Sanya Malhotra, Kanwaljit Singh, Nishant Dahiya
Genre: Family, Drama
Running Time: 111 Minutes
Release Date: 07 February, 2025
Rating:
Language: Hindi
Production Companies: Baweja Studios, Jio Studios
Budget: ₹ -Cr
Mrs.: Movie Overview
Mrs. is a 2024 Hindi-language drama film directed by Aarti Kadav. It stars Sanya Malhotra, along with Kanwaljit Singh, and Nishant Dahiya. The film portrays a woman who is a trained dancer and dance teacher; but after marriage has to navigate the challenges of marriage, as she tries to follow her own path, find her voice, and express herself freely even as society imposed expectations with regard to her marital life. Malhotra bagged the ‘Best Actress’ award for her performance in the film at the 2024 New York Indian Film Festival. The film is an official remake of Malayalam drama film The Great Indian Kitchen (2021).
The film has been making rounds of various international film festival. It premiered at the 2023 Tallinn Black Nights Film Festival. The teaser was unveiled in November 2023. The film was selected as the closing film at the 2024 New York Indian Film Festival, where Arati Kadav was nominated for the Best Director category. The film made Asia premiere at the 55th IFFI 2024 on November 22, 2024, as well as in the 14th Indian Film Festival of Melbourne (IFFM), 2024. it will release directly on ZEE5 on 7th February 2025.
Richa, a trained dancer and dance teacher, marries Diwakar, a wealthy doctor. But after marriage she has to live up to societal expectations of a wife.
Movie Trailer:
Movie Review:
Sanya Malhotra powers this poignant ‘The Great Indian Kitchen’ remake
Arati Kadav, staying true to the Malayalam original, tells a cautionary tale that also empowers women to say ‘enough is enough’
Mrs. is a film that needed to be made. The Hindi remake of Jeo Baby’s Malayalam film The Great Indian Kitchen hits home just as much as the original, once again proving that irrespective of the milieu, patriarchy and how it is enforced is templated.
There are no drunkards or wife beaters in the lead character Richa’s (Sanya Malhotra) world, just a couple of ‘decent’ men – husband Diwakar Kumar, and her father-in-law, Ashwin Kumar (Kanwaljit Singh), who want fresh phulkas (“not rotis”), chutney made on the grindstone, clothes hand-washed and women who stay at home to do all this; the menfolk, meanwhile, don’t lift a finger. Ashwin proudly tells Richa that his wife has a PhD in economics but “chose to stay at home for the sake of the house and the kids.” That she wants a career, and that too as a dance teacher, is not taken seriously. It is simply not a ‘suitable’ enough option. That is perhaps when Richa realises she really does not have a choice.
Sanya Malhotra is superlative as Richa, her transformation from the ebullient new bride to someone who begins to understand the trap marriage could be is impressive. She lives the role, becoming Richa, and matches Nimisha’s portrayal of the wife in the original. Her plight and dilemma would resonate with most women who live or have lived as part of traditional joint families.
Nishant Dahiya as the gynaecologist Dr. Diwakar Kumar, oblivious to his wife’s needs and completely focussed on his father’s comfort, is suitably revulsion-inspiring. Most of the characters are relatable, regular folks with their casual misogyny and everyday toxicity.
Mrs. is a worthy remake of The Great Indian Kitchen, and director Arati Kadav brings in nuance because, perhaps, she is a woman. But to the Malayalam original’s credit, it took a man to make The Great Indian Kitchen. Mrs is more or less faithful to the original, with minor tweaks to, perhaps, fit the milieu the movie is located in. While Jeo’s telling is laced with a feminist’s outrage at the privilege men enjoy, Arati’s take brings home the sense of suffocation Richa feels. While Jeo’s film is hard-hitting and makes one angry, Mrs. leaves one with a heavy heart. As much as it is cautionary, it also gives women confidence to say ‘enough is enough’.
There is no exaggeration, the casualness of the misogyny and patriarchy of not just the men but also the women is stated matter-of-factly. The messaging is also that toxic behaviour does not necessarily mean violence, and that manipulation and gaslighting can be done by ‘decent’ folks too. In the original, the mother-in-law is an ally; in the remake she is less so.
Richa repeatedly asks Diwakar to call the plumber to repair the clogged and leaking sink, which he ‘forgets’ every time. When his aunt comes visiting, she insinuates that it is Richa’s failure.
The kitchen’s clogged sink and the nagging, drip-drip of the pipe become a metaphor for Richa’s helplessness as it is for ‘the wife’ (Jeo had not named the characters) in The Great Indian Kitchen. Ironically it becomes the reason which, literally and metaphorically, causes her to tip over the edge. In the original, one is drawn into how the kitchen can be a prison and an unsavoury space, unlike the pretty/nostalgic place it is made out to be.
Some lines and scenes will stay with you for a long time. Richa, after a day of toiling in the kitchen, resists her husband’s advances saying she “smells like the kitchen” to which he responds, “That’s the sexiest”. However, as the relationship deteriorates, “you constantly smell like the kitchen” becomes an accusation. In the original, ‘the husband’ was more manipulative and his accusations insidious. Diwakar is oblivious that she will ‘smell like the kitchen’ because that is all she does and is expected to do, day in and day out.
Arati had a rock solid foundation to build on, and with the support of the cast, she was able to bring out an impressive film.
