The Kitchen, released in 2019, uniquely tries to combine the classic mob movie with elements of feminism. Directed and written by Andrea Berloff in her first feature, the film adapts the power dynamics of organized crime to the story of three women who fill the void left by their imprisoned spouses. Originating from the DC/Vertigo comic series by Ollie Masters and Ming Doyle, the film depicts gritty 1970s Hell’s Kitchen in New York and, through its women characters, attempts to subvert the gang-territorial dynamics in the genre.
Plot Overview
Set in 1978, the film opens in Hell’s Kitchen, which had long been a poor Irish-American neighborhood dominated by an Irish mob. The story centers on three women, Kathy Brennan (Melissa McCarthy), Ruby O’Carroll (Tiffany Haddish), and Claire Walsh (Elisabeth Moss), who have their lives turned upside down when their mobster husbands get arrested by the FBI in a sting operation.
While awaiting the release of their husbands, the women soon realize that the financial compensation the mob had previously promised was not forthcoming. This, coupled with deepening economic struggles, brought with it a unique form of disrespect from an organization that had once relied on their families. Their oppression now sparked a form of rebellion, and previously ignored, the women began to take control. They began collecting protection payments and managing local businesses that were once owned by their husbands. It was a bold move that put them in conflict with mob leadership. Regardless, the women delivered a shocking defeat to those who dared to underestimate them.
Kathy is the moral compass of the group, trying to balance the chaos of the underworld while working to support her children. Ruby, who is the daughter in law of the family that never truly embraced her due to her race, is keen on proving that she is an autonomous and powerful leader. Arguably the most transformed character in the film, Claire, who is introduced as a battered housewife, ultimately experiences the most radical metamorphosis as her newfound violent lifestyle grants her a sense of control and purpose.
As their criminal empire expands, syncretism the complexities. the women become embroiled in power struggles with rival gangs, gain the attention of the Italian mafia, and even turn against former allies. The Kitchen tells the story of the women and the crimes born in America, but more importantly, It tells the story of the struggles that the women had to go through to sustain and acquire power when their criminal empire expands. There women enduring and finding survival is empowered in their own different way.
Aim and Symbolism
Element of women empowerment in The Kitchen is dominated by men, is one of the most prominent themes in the The Kitchen. The women who lead the film offer a sharp counter to all the previous gangster films which focused on the alliance of masculinity, deeply ingrained violence, and the often unquestioned sense of loyalty between men. The Kitchen tells the most unusual story by empowering female faces and showing men in the background.
As individuals, Kathy, Ruby, and Claire portray the manifold faces of women regarding domination and control. It is Kathy who tries to maintain the family and make it into a stable unit. Till that very late period Ruby has faced problems of hard life inequality when one is often in suppressed position. Withdrawal changes her into one who commands and seeks to make and deeply sought control. The kitchen undergoes different stages of accepting one’s empire and their power and how women turn between in revolt.
The film explores an intersection of both race and class. Ruby’s fight for acceptance into the Irish mob reveals the embedded racism of the social and criminal hierarchy. At the same time, the image of Hell’s Kitchen as a broken working class neighborhood captures the economic hopelessness and despair fueling the characters’ crimes.
Violence is portrayed in a shocking way in The Kitchen. It is not beautified in any way, and is instead desperate and often brutal. This is in direct contrast to many stylized mob films which cover up the emotional depth and pain behind the character’s actions.
Acting and Characters
The role of Kathy is played by Melissa McCarthy who is known for her comedic roles. McCarthy brought a sympathetic and grounded essence to the character, displaying a rare quality of endurance in leading that comes from quiet rather than a brute’s aggression.
Tiffany Haddish is known for her comedic roles but here she plays Ruby, who is a more serious character. Ruby comes off as dull, cold, and unsympathetic. Though her character is captivating, she possesses cold traits that makes her hard to connect to.
Moss arguably steals the show as Claire as her character arc—from a timid, abused wife to a fearless, ice-cold killer—shocking and compelling. Both sides of the character are on display as Moss brings the role to life with a mix of menace and vulnerability.
Domhnall Gleeson appears as Gabriel O’Malley, a hitman who has recently come out of hiding, now courting Claire. Along with his character’s emotional depth and the added sense of danger, his role enhances the film’s second half.
James Badge Dale, Brian d’Arcy James, Margo Martindale, and Bill Camp offer other supporting performances that round out the cast and establish the underworld ecosystem that the story occurs within.
Direction, cinematography, and style
Directing Andrea Berloff attempts to merge a visually stylistic classic crime thriller with a character-driven story. In the film, the muted color palette alongside heavy shadows and period-appropriate production design evokes the grimy texture of 1970s New York. As well, the film’s anchors in history with the 70s costume design including leather jackets, denim and other retro patterns.
A part of the film’s critique focused on its pacing on the middle act of the film, noting the blend of comic and realistic elements felt jagged and disjointed.
Reception and Legacy
Critical response to the film “The Kitchen” has been rather lukewarm and even harsh from the audience. The film has an IMDb rating of 5.5, reflecting the divided audience response. Many critics offered praise for the concept of the film, the overall aesthetic, and “The Kitchen” visual elements. Alongside that praise, critics also noted Moss’s performance as one of the highlights of the film. That being said, the critics also remarked that the screenplay was much too uneven and suffered from poor character development despite interesting foundations.
While the film’s goal was to tackle the subject of women’s empowerment, the critique fell upon the notion that that film somehow failed to explore the juxtaposition of women’s empowerment versus the psychological toll that the male dominated world has on women. Many critics also felt that “The Kitchen” lacked a certain level of subtlety that film “Widows” (2018) brought to the table with their take on similar subject matter.
In a deep analysis of the film’s attempt at striking a chord between self sustaining women who wanted to break free from their cages, and the actual execution of that on screen, it can be highlighted that the film struggles deeply to find an ample audience. The film was a box-office bomb, likely attributed to its unique blend of genres.
Conclusion
The Kitchen is an ambitious movie that attempts to shift the focus of the gangster genre on to the more complicated and layered women characters. While it may not of its fully executed in its efforts, it merits praise for its originality, performances, and courageous themes. It serves as a reminder that narratives on the interplay of power, crime, and survival need not adhere to conventional blueprints, and that even in the most shadowy and controlled realms of the cinematic world, women are able to and, indeed, do, exercise power.
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