The Great Indian Kitchen Review: Remake Of A Quality Film Fails Again; Another Setback for Aishwarya Rajesh!

But in the second half, the screenplay loses its composure. Because of this, Aishwarya Rajesh's character's act in the final scene ends ceremoniously without making any impact.

The Great Indian Kitchen Review

Aishwarya Rajesh, a dance teacher, and Rahul Ravindran, a school teacher, are getting married. Aishwarya Rajesh comes to live her married life at Rahul Ravindra's house, who is old in everything like cooking and manners. From the day she arrived, she woke up in the morning and worked as a machine, cooking for her husband and father-in-law, serving food, cleaning the dining area, and washing the dishes. The director has tried to show the patriarchal cruelty he experiences in his daily life and the final decision he takes to get rid of it as a satire on the Indian family system.

Aishwarya Rajesh's performance adds a lot of strength to the film. Starting from helplessness, disgust, shame, crying and finally bursting up, he has done a great job by taking the entire responsibility of the film. But, apart from him, all other artists have appeared on screen as actors only between 'Action' and 'Cut'. Especially, Rahul Ravindran, who will be the husband, may still be menaked. In places where it is even more angry, it may still have had some impact.

In the first half, since Aishwarya Rajesh enters the house, she repeats the daily chores and men's tasks of cutting vegetables, cooking, serving, washing dishes and spittoons, cleaning the kitchen sink, cleaning the house, and washing clothes. The chills and angst of these mundanities are conveyed to us through the sobering scenes and Aishwarya Rajesh's performance. At one point the sound of chopping vegetables and the sound of the sink draining annoys us. This edgy and unhurried screenplay puts us in touch with Aishwarya Rajesh's character and the crux of the story.

But in the second half, the screenplay loses its composure, and the scenes rush by without tension. The Sabarimala women's entry issue, Aishwarya Rajesh's protest against the appointment order are layered without any sort of continuity. This pace can't keep up with the problems that come in the second half. Because of this, Aishwarya Rajesh's character's act in the final scene ends ceremoniously without making any impact.

"For a family formed by marriage, the father is the head of the family and the mother has to take care of the house. That is the beauty," the teacher Rahul said, "Why can't both of them be the head of the family?" As the students ask, "He likes spicy. He doesn't like spicy. So you aunty?" As Aishwarya Rajesh asks, these are excellent questions raised towards a patriarchal society. But the applause that comes to it makes me wonder if it was only for the verse. The reason is that artificiality with the thread of injustice in the making!

Even though the film revolves around a house, cinematographer Balasubramaniam has done his job with beautiful frames that are not overwhelming. Cinematography by Leo John Paul and background music by Jerry Sylvester Vincent. The soundtrack has also added a lot of strength to the film, where there is always 'sound' like chopping vegetables, cooking, and the sink running.

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