The Great Indian Kitchen evaluation: Patriarchy is alive and kicking

The Great Indian Kitchen forged: Nimisha Sajayan, Suraj VenjaramoodThe Great Indian Kitchen director: Jeo ChildThe Great Indian Kitchen ranking: 3.5 stars
Last night time, I watched a movie which didn’t really feel like a movie in any respect. It felt like actual life. The individuals within the body felt like individuals I’ve recognized, and felt for, although I had by no means set my eyes on the characters performed by Nimisha Sajayan and Suraj Vejaramood. The Great Indian Kitchen has gone straight to the highest of my greatest movies, those that stick with you lengthy after you’ve seen them.
When we first encounter her, she is dancing. Her face is a-lit. Rhythm actually will get her, makes her swing. Then comes an occasion which happens in so many younger ladies’s lives, the arrival of an acceptable younger man, and marriage. You may, at this level, wipe the ‘happy smiling girl’ slate and transpose upon it, ‘the beginning of the end’.
She has no title. Neither does he. She is addressed as ‘molae’, generic Malayali time period of endearment for woman, and he or she calls him ‘etta’, a salutation you’ll hear in lots of Malayali households. They come collectively as any couple does in an organized marriage, hoping to search out commonalities, a mutual spark that can hold them going. But very quickly, she discovers that the 2 males who reside along with her within the sprawling ‘tharavad’, her husband and father-in-law, have very particular wants, and her solely job is to maintain fulfilling them. Quietly, with out making a fuss, or elevating her voice, day after day, meal after meal.
The ‘great’ within the title must be essentially the most ironical use of the phrase: it subsumes ‘molae’, makes her small, imprisons her. Her day, from the time she awakes, until the time she sleeps, is stuffed with commandments. She has to prove meticulously cooked (the rice shall not be made within the strain cooker, solely on the hearth; the leftovers of lunch shall not be eaten at dinner) meals. She has to scrub the messy desk, accumulate the dishes, wash the dishes, wipe the steps, throw out the stinking rubbish right into a stinkier dugout within the yard, wash the garments by hand (no, no, the machine will weaken the fibre), hold them out, fold them away when dry, make tea for entitled guests (oho, is that this what you name black tea?), and lie again for the compulsory bout of marital intercourse. And then begin yet again, the cooking, cleansing, washing, until ‘etta’ calls for lights out.
No outing. No time for herself, except it’s that point of the month, when she is banished to a skinny mat on the ground, untouchable until she purifies herself ‘on the seventh day’, ensuring she won’t be seen by the partner, who has taken a holy vow of abstinence. A perpetually scolding, scathing older girl, a relative of the husband, helps to maintain ‘molae’ in her place, lest she forgets.
In 2021? Yes siree, this occurs even immediately, prefer it did in our mom’s and grandmother’s era. Patriarchy is alive and kicking, thanks very a lot. Those who’re oblivious of those age-old ‘customs’ and ‘traditions’ are both fortunate or blind. The Great Indian Kitchen spreads its wares generously. It isn’t just the kitchen which is designated as the girl’s area (a leaking pipe will proceed to leak as a result of the ever-busy ‘etta’ hasn’t discovered the time to name the plumber); it’s additionally the hallways which she has to mud, and the bed room the place she has to carry out, decorously, with out demanding something for her self. Foreplay? What’s that?
You watch ‘molae’ bending, ‘adjusting’, listening, obeying. You see her smile dwindle and die. She is only a creature, not an individual. She is a vessel, not somebody who can have an opinion, and positively not somebody who is usually a get together to the chatter round menstruating ladies and their exclusion from the Sabarimala shrine; she is requested to take away that offending video she has shared on Facebook. How dare she?
Finally, ah lastly, she arrives on the level of no return with a unvoiced however clear retort of her personal. How dare he? You see her, strolling alongside the highway, the glimpse of the ocean within the distance. You realise it’s the first time, since her marriage, you’ve seen her out of that home, that kitchen.
The prologue turns into a bit too expository, too keen to inform us what we’ve got seen. But that’s only a tiny niggle. This is a movie which must be important watching. The characters are very particular, the places are in Kerala, however the conditions which receive by the movie are horrifyingly common. Finally, you see the ‘molae’ because the important woman, the sunshine again on her face, and also you need to cheer. Out loud.