Women don’t owe happiness to everyone: 'Mrs.' Screenwriter Anu Singh Choudhary

Anu Singh Choudhary, a prominent screenwriter and author, recently shared insights into her creative process, personal journey, and the challenges of women in the film industry in an interview with The Wire Hindi. Choudhary, known for her work on 'Arya', 'Grahan', and 'Sajini Shinde Ka Viral Video', is also the screenwriter of 'Mrs.', an adaptation of the Malayalam film 'The Great Indian Kitchen'.

Speaking about the adaptation, Choudhary explained that while the essence of 'The Great Indian Kitchen' deeply resonated with her, it depicted a specific cultural setting. Her objective with 'Mrs.' was to craft a story that would connect with a broader audience by incorporating elements familiar to North Indian traditions and societal expectations. She pointed out that while issues like the prohibition on women entering the Sabarimala temple are significant in the South, North India has its own set of gendered customs, such as Karva Chauth, which, despite its celebratory nature, places significant expectations on women within marriage.

As a native of Bihar, Choudhary drew from her own observations and experiences to shape the film. She emphasized that the story of 'Mrs.' is deeply personal, requiring no external elements to heighten its realism. Every woman, she argued, can see herself in the protagonist’s struggles against patriarchy.

One of the most striking visual elements in 'Mrs.' is the image of the protagonist leaving her marital home with soiled footprints—an idea rooted in North Indian wedding traditions where brides enter their in-laws’ homes with 'shagun' alta on their feet. This motif was transformed into a powerful metaphor for the burdens women bear in marriage. Choudhary also highlighted how dance, often dismissed as merely a hobby, serves as another layer in the narrative, reflecting how artistic professions are frequently undervalued in society.

Addressing the comparisons between 'The Great Indian Kitchen' and 'Mrs.', Choudhary acknowledged the brilliance of Jeo Baby’s original film but underscored that the two films have distinct perspectives. She noted that the presence of a female director, Arati Kadav, and a predominantly female crew in 'Mrs.' allowed for a storytelling process deeply enriched by lived experiences. Responding to online trolling and criticism, she remarked that backlash is inevitable when patriarchal norms are challenged. However, she remained unfazed, stating that the film’s goal was to spark conversation, and any strong reactions—whether positive or negative—indicate its impact.

Choudhary’s commitment to feminist storytelling is evident in her literary works as well, including 'Neela Scarf', 'Bhali Ladkiyan-Buri Ladkiyan', and 'Mamma Ki Diary'. She revealed that her journey into writing was shaped by personal rebellion. Raised in Bihar, she left for Delhi against her family’s wishes to avoid an arranged marriage, pursuing journalism at the Indian Institute of Mass Communication (IIMC). Even before formally entering the field, she contributed poetry, newspaper articles, and radio stories, drawn to the power of storytelling as a medium for change. Her journalism career, which earned her the Ramnath Goenka Award, was deeply focused on gender and child rights, reinforcing her dedication to amplifying the voices of marginalized women.

Despite her feminist focus, Choudhary has also explored male perspectives in her work, notably in 'Sahyatri' and 'Mukti'. She stressed that while these stories feature male protagonists, the women in them serve as pivotal catalysts for change. She also emphasized the importance of women telling their own stories, adding that while filmmakers like Satyajit Ray and Gulzar have crafted memorable female characters, women writers must continue to build on that legacy.

Reflecting on her diverse career spanning journalism, literature, and screenwriting, Choudhary expressed that she enjoys all forms of storytelling, frequently switching between them to keep herself creatively engaged. Though she last reported in 2015, she continues to apply journalistic principles to her work, ensuring thorough research and fact-checking, even in screenwriting.

Choudhary’s early career in radio also played a significant role in shaping her storytelling abilities. She recounted how, at the age of ten, she earned her first payment for a recitation on 'Akashvani', which led to her opening her first bank account. Her fondness for radio remained strong, leading her to contribute around 50 stories to 'Yaadon Ka Idiot Box with Neelesh Mishra'. She noted that the medium’s intimacy and reliance on voice alone made it a unique and impactful form of storytelling.

Despite her success, Choudhary lamented the lack of recognition screenwriters receive in the film industry. She pointed out that while writers lay the foundation for a film, directors and producers often overshadow their contributions. Acknowledgment and fair credit remain ongoing struggles, with many screenwriters facing contractual issues and exclusion from key creative discussions. She stressed the need for collective action among writers to demand their due recognition and fair treatment in the industry.

On the issue of harassment in the entertainment industry, Choudhary acknowledged that women across fields face exploitation. While she personally believes that projecting a strong, assertive demeanor helps deter inappropriate behavior, she emphasized that open communication and solidarity among women writers are crucial in addressing these issues.

Gender inequality, particularly in terms of pay and opportunities, remains a significant challenge in the film industry. Choudhary argued that the struggle for equal rights is ongoing and requires daily efforts. She underscored that women do not seek sympathy but demand fairness and professional recognition based on merit rather than gender.

Discussing her connection with different cities, Choudhary described her birthplace, Siwan, with a mix of love and frustration due to its lack of development. She holds similar complex feelings about Purnia and Patna, where she has familial ties but is often disheartened by their stagnation. Ranchi, where she was raised, remains especially dear to her, though she has not returned in years. Delhi, where she spent a crucial part of her career, has always felt transient, while Mumbai, her 'karmabhoomi', is a city of relentless work rather than emotional attachment. She observed that storytellers often feel a lack of belonging, finding authenticity in moments of detachment.

Choudhary credited her family, particularly her father, brother, and children, for their unwavering support. She recalled how, when she transitioned from journalism to screenwriting in 2015, her father offered financial assistance for six months, despite coming from a patriarchal background. She also acknowledged her in-laws' support, noting that their encouragement has allowed her to pursue her ambitions without compromise.

Through her career in journalism, literature, and film, Anu Singh Choudhary has consistently championed the narratives of women and marginalized communities. With 'Mrs.', she has once again used storytelling to challenge entrenched societal norms, reinforcing her belief in the power of the written word to inspire change.