Unsettling, Uncommon, Yet Unexpectedly Empowering 'Happy Endings' For Women in Cinema

Hyderabad: In cinema, women characters have long been used as plot devices to advance the narratives of male protagonists. Even in women-centric films, we tend to witness the portrayal of women as caught in traditional roles either as victims or as the focal points of glossy, surface-level chick flicks. Although there are movies that are with fully arched female characters, they are far-placed and yet to become the norm. But in recent years, directors are coming up with more complex female characters who subvert conventional narratives. These women make unconventional decisions that defy the audience's expectations, leading the story in new directions and ending on an unexpected note.

As audiences, we expect a "happy ending" in films, as for most people, films are an escape from the harsh realities of life. Decades ago, the classic ending featured women as victims or, more simply, reward and conquest for the hero. Women on screen were mostly relegated to professions that showcased their looks, singing and dancing chops, or their desire to be rescued by the hero—often playing into the patriarchal design. Aarti Kadav, who is basking in the success of her latest directorial venture Mrs, and happy with the conversations that her film triggered, says, "We as women knew no better. Growing up, the subtext was clear: your worth and purpose were dependent on being in a relationship with a man. That’s all we saw in most films, and that’s what we were conditioned to believe."

Kadav opines there has been a visible shift in the past few years. Movies today include women who seize their fates, giving them the freedom to make choices that are both revolutionary and liberating. "We are breaking down the idea of what a woman should be beyond what their gender conventionally dictates. It is a gradual change, but it's happening, and it's very refreshing," she shares while caring for her 8-month-old son, who demands her attention as we speak.

The long-standing divide between movies with leading ladies (read hero's love interest) and movies with author-backed roles for women is dissolving, though not as quickly as we'd like to. Women are being written more humanely. Rather than passively accepting a fate that others have crafted for them, these characters decide to take matters into their own hands. Ultimately, leaving a lasting impact on the story and the minds of the audience long after the end credits roll. Their choices are powerful, radical, and sometimes unsettling, but certainly thought-provoking.

One of the glowing examples of this change is in Queen (2013), where Kangana Ranaut's performance as Rani Mehra is a strong statement on knowing self-worth. Rani goes through a process of self-discovery after being left by her fiancé, going against the conventional script where the woman would lose hope or take revenge. Rather, she goes back to her former fiancé not to resume from where he had left, but to express gratitude to him for having rejected her. His rejection, instead of annihilating her, serves as the impetus for her own personal growth. In this gradual but deep transformation, Queen reinterprets the idea of a "happy ending," providing one based on a woman's autonomy and self-empowerment.

Similarly, the 2018 Malayalam movie Ishq defies the audience's expectations of a conventional romantic thriller. The story revolves around Sachi (Shane Nigam) and Vasudha (Ann Sheetal), whose date turns into a nightmare when they are interrupted by someone posing as a police officer. One would expect a conventional ending where the couple overcomes the challenge, but Ishq goes deep into the psychological and emotional aftermath of the trauma. The pivotal moment comes when Vasudha rejects Sachi’s proposal, choosing to assert her autonomy in the face of their shared trauma. This decision underscores a deeper truth about the complexities of gender and relationships: women are often expected to bear the emotional weight of situations they did not create, and Ishq forces the audience to grapple with the unsettling reality of that expectation.

In Thappad (2020), Taapsee Pannu's performance as Amrita is a moment of catharsis for contemporary Hindi cinema. Refusing to forgive her husband, Vikram (Pavail Gulati), after he slaps her at a party, Amrita defies the expectations of society and even that of her lawyer. The movie's refusal to follow through on Amrita's decision to end her marriage, without the melodrama of forgiveness or reconciliation, is a welcome break from the usual. "Bas ek thappad, par nahi maar sakta," with this most telling line in the film, Amrita's insistence on getting respect in her marriage sends a powerful message about women's rights to set boundaries and expectations in relationships.

Ullozhukku (2024), starring Parvathy Thiruvothu as Anju and Urvashi as Leelamma, goes further in subverting expectations. This is a movie about two women from different generations trapped in an ethically ambivalent situation. "Anju and Leelamma of Ullozhukku are kind of inspired by the people around me. While growing up, I was fortunate to have these strong women around me. I think that helped me in shaping my worldview...my writing and these characters," says Christo Tomy, director of the film.

Anju discovers the truth about her husband's illness and weighs the option of resuming her relationship with her ex, but rejects him when she realises that he is far more interested in her money than in her. Standing at the crossroads of life, she decides to return to Leelamma. Anju's choice to find her happiness and claim her agency is a strong moment in a movie, and Christo, who made a stellar directorial debut with the film, says that it was "kind of a perfect ending."

Though it might not be for all, Ullozhukku ends on satisfying note, as Anju who was once forced into marriage now asserts control over her life and the relationships that define it. "Anju kind of realises that Leelamma loves her, and more importantly, without judgment... and that is why she chooses to go with her and not her lover. So right from the beginning, it was this ending and it was the problem more about how to get these characters to that."

Kadav's Mrs. which is a Hindi remake of the critically acclaimed Malayalam film The Great Indian Kitchen, stars Sanya Malhotra as Richa, a woman who, with her childlike innocence, does her best to make her marriage work. She is married into a seemingly nice, yet deeply patriarchal family. Richa’s father-in-law takes pride in his wife’s decision to set aside her own ambitions and focus solely on home and children. This same expectation is placed on Richa. However, she longs for freedom and finds ways, both small and significant, to assert her agency. As love and desire slowly fade from her marriage, the monotony of daily life begins to drain her. Finally, when she can no longer take it, Richa rebels in a way no one would expect.

"It's not a girl's responsibility to save everybody. The girl's job is to identify that she's in a screwed place and then escape. That is all her responsibility," says Kadav, explaining the end of Mrs. While the film is loved by many, there is also a section of society that labels Richa escapist. "I always wanted the ending of Mrs the way it is... where the girl escapes, leaving the man stuck in the cycle of patriarchy. That’s her character arc... and that’s the true 'happy ending' for her."

While Kadav aimed to conclude Mrs. on a certain note, Anand Ekarshi took a different approach with his National Award-winning Malayalam film Aattam. "It was not designed to deliver a specific message to society or to write a film as a political statement to elevate women's perspectives. Instead, it is a film built around an idea that felt right, crafted into a movie in the best possible way," says Anand.

Aattam is another such example that follows a slow-burning pace to tackle a delicate subject: sexual harassment within an all-male theater company that includes a single female artist. When a female co-actor, Anjali (Zarin Shihab), faces asexual harassment by one of the group members, the male members of the troupe engage in a discussion that reveals their individual biases, intentions, and complicity. "Anjali faces many problems throughout the film. To decide how to conclude the character's arc, we had to navigate through her perspective. It was through this process that the climax of the film was written and completed on paper. The film concludes with a clear statement," the director adds.

The film’s treatment of Anjali’s response to the assault and her refusal to be silenced reflects the growing focus on women’s voices in narratives traditionally dominated by male perspectives. "The writer reaches the final statement, 'You are just like one of those 11 men... no different,' is based on the problems the character has faced," Ekarshi shares.

These films and many more like them are not just about giving women more screen time; it's about giving them real agency and depth, allowing them to drive their own narratives on screen and beyond.

"Things are improving, and I believe we're evolving. However, the challenges faced in mounting a female-led film on a huge budget without including male stars are still a reality. I hope that changes in the future," concludes Cristo.

Read More

1. Reema Kagti Interview: 'I Was Told Women Directors Are Jinxed, It Is Going to Be Very Difficult'
2. Invisible Abuse in Marriage: How Sanya Malhotra's Mrs. Shines Light on What Not to Do in a Marriage
3. Sharmila Tagore Interview: 'Portrayal of Women Got Much Better Than Our Times; We Played Only Weepy Roles'