Saturday, April 06, 2013

Mirch Masala

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.

Mirch attacks a virtually taboo of women's sensuality and talent manipulative in the relationship husband - wife - lover. Here, no big story of irrepressible love, exacerbated romanticism, it is well and truly desire and sex. Heaven!

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.

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