Bollywood/Hollywood

I enjoyed this film immensely, and found it a humorous take on second-generation Indo-Canadian life. The songs were enjoyable (my only complaint about the film is that the songs weren't subtitled - a bit frustrating for those of us that don't speak Hindi!), and I recommend the film highly - great fun!

B/H stands up as a comedy AND an affectionate parody of Bollywood formula romances. The very title underscores the love-hate relationship many contemporary South Asian filmmakers feel about the Hollywood hegemon (see http://www.thefilmjournal.com/issue9/bollywood.html ). As such, it offers a sly reworking of the Pretty Woman formula, with an Indian twist – which raises the question of why Mehta's writers chose THAT Hollywood movie to build a comic plot upon. One answer requires examination of how women, especially young women, are depicted in Bollywood movies, which valorize – even enforce – Ramayana-like ideals of female purity versus the reality and problems of female identity in a modern world. Compare Mehta's Fire. The comedy and parody in B/H offers a different take on a Mehta theme. The Shakespeare-quoting grandmother reflects another aspect of the film's comic concern with the clash between tradition and modernity – here, the kind of British-inspired education the grandmother would have received, which often required students to memorize whole scenes from Shakespeare (whose plays were and are very popular in India). The comic turnabout at the end might be examined in light of equally sudden turnabouts in movies like DDLJ, the difference being that the main blocking character at the end of B/H is Sunita herself. Her father, minutes before, reverses himself BECAUSE he has seen movies like that one. A very "filmi" intrusion into the comic plot, but (true to Mehta's sympathies) it is Sunita herself who becomes – for a moment – the blocking character whose needs must be recognized. It's a matter of HER identity, albeit within the framework of Bollywood comic romance. As such, her situation offers, for the perceptive, a bittersweet comic take on a question Mehta raises more seriously elsewhere. B/H is a parody, yes, but it has a serious side as well. Think about this while you laugh.

For all those who felt the film was not the most fabulous or felt it wasn't a representative of the Bollywood industry etc., then you need to know this:

1) This movie was sold as a spoof of the Indian film industry like 'Not another teen movie' was a parody of 'Chick Flicks' and as the 'Scary Movie' series are for horror films; this film was meant to be exaggerated and outrageous.

2) Also to understand the humour of this film, you need to a know a lot about the Indian film industry and the references to the 'gossip' and films; even the music that is played as a score are insinuations to various Indian films. The transvestite driver, 'Killer Khalsa' sequence are a citation to a lot of stereotypes; Indian movies have transvestites as they are a part of society and as for the 'Killer Khalsa' sequence, the allusion to the food and the absurdity of the matchmaking are ever present in Indian films.

3) The segments of the film where it is obvious that Deepa Mehta's first language is not English are the segments where there are references to Indian sayings or style of speaking and that is true of many N.R.I's.

I am astonished at the people who disliked it; the audience should be aware of the context of this movie because admittedly there are people who appreciate Indian style films (in which case that audience should not have watched this film). Deepa Mehta is renowned for her art films ('Fire' (1996), 'Earth' (1998) and the upcoming 'Water') and this movie was created for a satirical view of the current films, especially the N.R.I. films.

What is commonly seen as a flaw of this movies is actually a part of the sardonic look at Indian films; of course if there are are filming discontinuities, I have not noticed. I give this film a 9 out of 10 due to the technical flaws (for example, 'Kim's' accident and the 'ghost' sequence) and also because of Lisa Ray's stylists' lack of fashion IQ as she was made to look pretty horrid through out this movie.

This homage to Bollywood movies is actually a melodramatic farce with vibrant colors and a just dose of romance. The movie does have some charm and is funny in more than one way. But more musical numbers would have been nice. Good to get a taste of what life is for the Toronto's East Indian community. Nice way to address the culture clash of Toronto's multi-cultural facade. The acting is good by Rahul Khanna and gorgeous Lisa Ray.

Out of 100, I give it 80. That's good for *** out of ****.

Seen in Toronto, at the Alliance Atlantis Cumberland Cinemas, on November 3rd, 2002.

One caveat: if you have never seen a Bollywood movie, you probably won't find this very funny. The point is, director Deepa Mehta has taken just about every Bollywood cliché, exaggerated it, swirled it around and mixed it with a Hollywood love story and created a perfectly funny Bollywood parody that had me in giggles from the weepy deathbed scene at the beginning through most of the movie.

Depth? Don't expect any. This is about as lightweight (and sometimes silly) as comedy can get, with the usual suspension of disbelief necessary for Bollywood movies.

The title doesn't really have anything to do with the plot; it's more of a programmatic statement, as Mehta tries to intertwine Bollywood and Hollywood elements into a musical romantic comedy.

The Bollywood bits are the more successful, as Mehta sems to have the necessary expertise to exploit them for parody and quirky humour; sadly, the weakest point of the movie is when the Bollywood/Hollywood formula shifts too much towards the Hollywood side and tries to incorporate too much of the typical Hollywood 'romantic comedy' storyline. All of a sudden the script seems to take itself too seriously, and the whole thing, which had been very fresh and entertaining up until then, suddenly tastes very stale, and we get the umpteenth reprise of "love in danger through misunderstanding", and whereas the Bollywood melodrama had been masterly turned into brilliant parody, the Hollywood drama just stands as it is and is presented at face value, which is a major disappointment.

However, the 75 minutes of hilarious Bollywood parody will more than compensate for those 15 minutes of Hollywood lameness. So will the excellent Bollywood-inspired (and Hollywood-compatible) music. Just don't expect depth.