The Great Indian Kitchen

2021, Malayalam, Neestream, 8.4/10 IMDB, Directed by Joe Baby

Moral authorities of patriarchy, de-skinned without much melodrama, through the perspective of a young woman of the 3rd millennium.

The 2020 film ‘Thappad’ focused on patriarchy that was instilled in the system of young girls, since their childhood. Whereas, the maker of ‘The Great Indian Kitchen’ approach patriarchy from the ‘taming aspect’. An attempt to transform the newly wed brides to fit ‘The House Keeper’ template.

The husband, played by Suraj Venjaramoodu, is a teacher by profession. The crux of the plot is explicitly captured in the husband’s contradicting attitude. He hardly realises that the lessons he teaches his students, on ‘Family’, is exactly opposite to his real life. That’s sadly the appalling plight of our superficial education system. His table manners at home strikes a total contrast to that of his at a hotel. He is conscious of being socially judged. The director chooses to reiterate through these sequences. The socially conscious perfect male sparkles without a speck of imperfection in the outside world. But he is in fact a ‘patriarchal alpha male’ at home. He considers it his birth right or believes is a genetic descent.

An educated girl, born in a diasporic family, is married in to a traditional family in Kerala. Played by the fantastic Nimisha Sajayan, she wishes to pursue a career in teaching dance. While the father-in-law smilingly says a ‘No’, the husband genuinely ‘postpones’ for the time being, with a false hope smile. The mother-in-law seems to say a secret ‘Yes’, while she is at a safe distance at her daughter’s place, abroad. This young women is bound by an invisible shackle.

The newly wedded woman subtly hints, she is not ready for intimacy, due to lethargy after a heavy dinner. This is a perfect set up by the director for a scene later on. She gains confidence, to speak out the discomfort due to lack of foreplay. It pays off, when she is ridiculed by the husband. The viewer gets a glimpse of the husband’s chauvinism paired with his demonic patriarchy.

The film closes with the theatrical representation of a girl bound in iron shackles. One realises, these shackles are like the ones that tie down the mighty elephant. The elephant is tamed to believe that, it is not mighty enough to break free. Women are no less powerful than these gentle giants and have been conditioned to believe that breaking free is impossible. Even sadder, most of the time, she is made to beleive it is forbidden.

We witness the film succeeding in setting the spirit of womanhood free. It gets better, when the female lead, addresses the very core of the issue. She realises the significance of nipping it at young. She insists her younger brother to fetch the water for himself instead of asking his mother. Accolades for the effortless solution. It will not only will keep alive the dreams of million young girls. It will also make them feel safe, as the society would be made up of responsible adults.