The film also touches on the ongoing debate between old and new generations regarding the impact of work on biological clocks, fertility and the importance of rest during menstruation for women’s physical and mental well-being.
Unlike other movies that tackled similar themes, “Mrs” took a promising start, offering a fresh perspective, but unfortunately, it lost momentum and stumbled to its conclusion.
Like many households, the new bride, Richa, played by Sanya Malhotra, is introduced to her new family and learns to navigate the household’s rules and expectations. Initially, Richa’s bright smile and innocent demeanour are evident, but as time passes, her smile gradually fades. The film effectively establishes the foundation of Richa’s character, showcasing the typical qualities and expectations associated with a housewife.
The film’s realism was spot on, accurately depicting the dynamics of many Indian households, where housewives are often expected to manage domestic chores, including cooking and grinding. Indeed, some families, despite having the means to afford domestic help, still insist on traditional practices, such as ’silbatte’ ki chutney and cooking homemade meals, including hot ‘fulkas’, three times a day, all within the confines of the family kitchen.
The protagonist’s husband Diwakar (Nishant Dahiya), a doctor himself, had a uniquely written role. Despite being a busy professional, he communicates with his wife. He was a loving and present partner, qualities that many women often struggle to find in their own marriages. Interestingly, despite having the perceived positives in her life, the protagonist seemed to focus on the hollowness that was creeping in.
One of the most refreshing and well-written characters is that of the protagonist’s father-in-law(Kanwaljit), which sparked the thought that ‘Women are better now or were back then?’ His dialogue, “mujhe ab tumhara dhyan dena padega” (now I need to take care of you), appreciated the sentiment, as it emphasized the importance of in-laws taking responsibility for their daughter-in-law. The poignant line “Ab tum beti ho ghar ki” (now you are the daughter of the house) underscored this theme, highlighting the pressures and sacrifices that often come with this role.
The film laid a solid foundation in its portrayal of a housewife, meticulously capturing the nuances and expectations associated with this role. The protagonist’s mother-in-law, in particular, was a notable character, whose quiet demeanour and sacrifices spoke volumes about the compromises she had made with her own self-worth. The father-in-law succinctly captures the pervasive societal mindset with the line, “She’s done PhD in Economics, but she’s always prioritized her home, and that’s why her kids are doctors.” This poignant statement lays bare the ingrained expectation that women must sacrifice their personal ambitions and identities for the sake of their families, perpetuating a damaging narrative that equates a woman’s value with her willingness to prioritize others above herself.
Another notable character is Diwakar’s cousin, played by Varun Badola, whose quirky obsession with ‘Shikanji’ adds a delightful touch. His subtle remark about respecting his wife, simply because she is “working”, cleverly highlights the societal expectation that women’s work outside the home deserves recognition, while their domestic labour often goes unappreciated.
The character development is indeed layered, as the male characters in the house are depicted as being knowledgeable about recipes, cooking methods, and ingredients, while the females are expected to be confined to the kitchen. This contrast is further underscored by the protagonist’s friend, who is married to a supportive husband who genuinely respects her passion for dance. The film’s thoughtful portrayal of these characters adds depth and nuance to its exploration of societal norms and expectations.
Despite being surrounded by well-balanced marriage setups, the protagonist feels misunderstood and unappreciated, despite her tireless efforts for her husband and in-laws. This highlights the inherent expectation that women will compromise without being asked, hoping for reciprocity. However, a significant gap remains: while women work hard to support their families, often without the help of domestic assistance, what they truly crave is the ‘right to dream and achieve’.
Kudos to the writers Harman Baweja and Anu Singh Choudhary for skillfully crafting a narrative that accurately portrays the complexities of an upper-middle-class family, where women are often overlooked and taken for granted despite being provided with comforts and luxuries. The writer astutely highlights the towering expectations placed on women in such families, where their actual needs and desires are ignored. It highlights that women who sacrifice are always glorified, but those who think about their self-worth are replaceable with malleable women.
The film also touches on the ongoing debate between old and new generations regarding the impact of work on biological clocks, fertility and the importance of rest during menstruation for women’s physical and mental well-being. Crucially, the movie highlights that these aspects of women’s health should not be used to restrict their autonomy, desires, and self-worth.
‘Mrs’ is a commendable attempt to challenge societal norms without being preachy and foster a deeper understanding of women’s inner worlds. Notably, the film’s protagonist navigates a relatively supportive environment, with respecting and caring family members, yet still feels compelled to leave. This poignant portrayal underscores the reality that, even in the 21st century, many women continue to be denied their basic needs and desires, highlighting the urgent need for societal change.
While it may not provide easy answers, it encourages viewers to think critically about societal expectations placed on women and the importance of self-worth, a timely message for today’s women. By emphasizing the value of self-worth, the film offers a powerful antidote to the growing trend of “no marriage culture” among women, instead promoting a more empowered and fulfilling approach to relationships and life.
While this concave disposition in conclusion may seem extreme, it catalyzes a crucial discussion. By highlighting the imbalances in marriage, the film encourages both parties to reevaluate their roles and responsibilities, fostering a deeper understanding and more open communication about their needs and desires within the relationship.
