Mirchi is a complete letdown. Nilofer Khan still leaves the best impression, which is not safe at their game, but rather on their camera-friendly face and her whole body use.
Bollywood sleazy directors often have the strange urge to revalue their scarce by morally valuable or supposedly socially critical content. This is in most cases straight into the pants, because moral mallet and do not mix well. Worse: they lead to hypocritical against each other and to double standards. So also in Mirchi - It's Hot Z-director Dinesh Awasthi (Raja Bhai Lagey Raho). His cinematic effusion will accuse the prostitution of innocent women and the brutal methods of Sexgangster, at the same time by a strong woman character named Durga Pandey, Archana Puran Singh played by, to go back a feminist sweeping blow.
But in addition to erotic scenes join for male gratification, women who did not even cry out briefly at a rape (see opening scene), and a gruesome picture of the world. How to protect namely the ladies? Durga Pandey says: Women should kindly cherish no financial ambitions, but trust that the man brings the money home. Likewise, they should in no way begin a work, but to make useful home. Women on the stove, then you will not be taken from Sexgangstern through the wringer. Yes, such a thing is called in Bollywood cinema Fummel social criticism.
However, beyond this mendacious to a large extent the content Mirchi is a complete letdown. The story never grabs, the staging with their annoying jump cuts, flashes and swoosh is a plague, and the actors were needed urgently a few months tutoring , In the case of Nirmal Pandey also a few years his skills because the actor charged until you're blue. A greasy villain Great for Bollywood Ahnengalerie of "bad acting". But the others are not much better, certainly not the stoic Bobby Khan, not the tedious Sambhavna Seth, never Harish Patel with his same old "Allah" slogan and Archana Puran Singh certainly not with her "I was once in jail and am Now a hard woman "-Dauerfeuer. It is significant that debutante Nilofer Khan still leaves the best impression, which is not safe at their game, but rather on their camera-friendly face and her whole body use. Only she can not dance.
This in turn they would in a few ghastly song-and-dance sequences, one of which is weaker than the next. The theme song is played all the three times, sometimes even with the same images - a real pain. In short: "Hot" is in this snapshot, which after a popular Indian radio station is named, anything at all, apart from a couple cuddle and Scenes from the initial phase. Because after all, you go in the erotic slightly to one thing - it inclined fan in the course of the film to make matters worse, must then also still without. The shortest quote for DVD cover from my side: "stupid bolder sleazy nonsense of hypocritical and boring kind". But as has already been licensed from completely incomprehensible reasons this scrap for the German market Laser Paradise, I can probably strike a quote for the DVD cover the leg. But who knows, maybe there's a second edition, but may be that of Central Europe Bollywood community has been waiting for exactly this crap. Or?
India in the 40s: An officer of the rank of Subedar (Naseeruddin Shah) traveling with their soldiers from village to village and collected ground control. He leads to dictatorial and treated like dirt farmers. If the residents do not pay, the military, women rape sometimes even in the village. In a rural, idyllic town of Subedar sees the beautiful Sonbai ( Smita Patil), whose husband is not because of a new job at home. He wants to usurp, but Sonbai flees into the chilli factory where they brave the protected Chowkidar Abu Miya (Om Puri). The Subedar forces, meanwhile, the headman Mukhiya (Suresh Oberoi) to hand over the woman of his desire.
Ketan Mehta, now known as the director of the Aamir Khan Epic Mangal Pandey, its reputation worked in regional theater and as a filmmaker of Indian Parallel Cinema. Mirch Masala is one of his best known works and even ran in over fifty US cinemas. The drama, filled with some of the most remarkable actors of alternative Indian cinema, already starts with powerful images: A scarecrow on a chili field, zoom horse soldiers shoot her head away, followed by a swarm of bees buzzing about it. The soldiers riding on, the camera goes back and shows a growing partial loads with chillis. An impressive sight. The chillies that give the film its title also (chilli spice mix), point thanks to their sharpness the impending disaster in the history already, but come only at the end right to the train.
Ever "Mirch Masala" increases towards the end. The drawing of village life in the beginning is good, but after that Mehta let's the reins somewhat loosely. He trusts that his actors carry the film, but he is lost in subplots and introduces characters he then does not really need or which are not thought through. For example, Paresh Rawals villagers or liberal teachers. Mirch Masala works in particular when it revolves around the women. The men do not allow them to send their daughters to school, the fathers deny her a friend, let alone the husbands and the soldiers mistreat them. Mehta makes no bones about the fact that his sympathies lie with the oppressed women.
Interestingly, even the sheltered women turn against closing but partially against Sonbai. A similar phenomenon, as Deepa Mehta in a scene from Water has been, because the women are so used by the patriarchal culture of looking for mistakes in that they "accuse" also Sonbai to be too good and the man thereby deceived or involuntarily wanted to have. That evil emanates from man alone, even comes to women not to mind. An oppressive thought which says more about the indoctrination of the patriarchal ideas; as if the women were to support each other in the fight against the spineless, but brutal men.
In the center of the storm is in Mirch Masala Sonbai, minimalist but expressive played by Smita Patil (Namak Halaal). Celebrated Parallel Cinema actress passed away three years later due to complications after the birth of her baby, which she had with actor Raj Babbar. Patil is by no means the only person in the cast that shines: Naseeruddin Shah enjoys his sadism, Om Puri radiates with Beard goodness and strength from, Vivek Oberois father Suresh Oberoi are the misogynistic headman, the impressive Deepti Naval (Freaky Chakra) his tormented wife.
The actors, the refined imagery, the theme and the precise drawing of village politics also belong because of the major advantages of "Mirch Masala". Less convincing the half-baked subplots that even abrupt (primarily symbolic imaginary) final and a few bumpy spots in the first half of the film. In any case, Mirch Masala is watchable contribution to the Indian off-Bollywood cinema, turned with ardor and talent.
Four sketches variation on in different contexts, different times. All four are funny, sassy, well played, three of them have a common and original high point: these women can make love with their lover in front of their husbands, without it can blame them. It's safe, right? To learn more, look Mirch! The fourth skit is agreed as the others, but Konkona Sen Sharma worth visiting.
The downside of the film is how dramatizations are introduced and concluded, is a bit clumsy, too demonstrative, fetched: a writer a bit temperamental (Arunoday Singh) says his next film to a producer, before his girlfriend (Shahana Goswami) who is also editor and much appreciated by the producer. Two others react to the end of the narration. The trio of fifth skit? This would have given meaning to all, but no, damage. Yet there was the matter, it looks like they did not dare go through.
Despite this, Mirch remains a sympathetic film especially for women. Konkona Sen Sharma, who has two partners, has a look of rare eloquence. And Raima Sen, who plays the other two, is perfect in sweet woman, sensual, love. The husbands are played by talented actors: Shreyas Talpade, Boman Irani, Rajpal Yadav, Prem Chopra.
The lover is always the same: Arunoday Singh, the narrator-writer, less convincing, but with a chest requiring the bodybuildée seemingly irresistible fashion. Unless this is the artistic creation that is irresistible? Either all these lovers are pure fantasy, like cinema, and have never existed anywhere but in the imagination of wives ... Another hypothesis: the real writer of Mirch also dream of being the hero of his films and female fantasies, but it is not enough bodybuilder torso.
The picture is very beautiful, color schemes and light are sought, each party takes place in a colorful harmony (or discolored) that highlights the mood of heroin. The decor of the villagers first story is refreshing and just, the palace where the second place is located at the time of Maharajas, are beautiful, the shots too. The third story, more melancholy, declines the theme of the painting and its harmonies of blue and gray. The fourth, which refers to prostitution, plays the discrepancy in bright colors, emphasizing the vulgarity of the creepy atmosphere. As for connecting scenes, the hard confrontation of black and white portends difficult choices.
Monty Sharma's music is rather unique although some pieces do much thinking about the soundtrack of Paheli, I like his side qawwali revisited. This film pays homage to the intelligence, imagination and spirit of appropriateness of those women who might have never deceived their husbands if it had trusted them and had loved them as they loved. The moral of the story?
Shimla Mirchi is a film written and directed by Ramesh Sippy stars Hema Malini, Rajkummar Rao, Rakul Preet Singh in the lead roles.