Tag: Desis

Spoiler-Free Review: “Indian Matchmaking” (2020)

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[1] This show is basically romanticizing patriarchy.

[2] If there is any critique, it’s not that of arranged marriages, but of the unspoken biases, the pressure of marriage, and cringeworthy laundry list of preferences that constantly perpetuate.

[3] I was fuming at Geeta’s “women need to adjust more.” I have SO many issues with this show… the matchmaker’s job depends on the patriarchal society, but it is truly representative of the culture. Truly representative. Which is the sad part.

[4] The fact that so many people cringed watching it only proves how real those people felt to us. The appeal lies in the fact that whether you laugh or scream, it’s difficult to deny that the whole thing has a wallop of truth to it.

[5] This is the whole purpose of the show: to make people cringe and relate at the same time so that they can understand that what’s wrong and what needs to be changed.

-Excerpts from IMDB reviews from Indians in the diaspora

This is THE show (on Netflix) being discussed the past week on Twitter! While Helen of Troy may’ve launched a 1,000 ships, this show probably launched a 1,000 think-pieces. Indian Matchmaking sprung from the mind of Smriti Mudhra (a millennial documentary filmmaker raised in the US); she was nominated for an Oscar for her short film- St. Louis Superman (2019). Now, I know what some of you are thinking- isn’t this a reality show!? A pop culture critic was calling it a mash-up of The Real Housewives, Monsoon Wedding, and The Bachelor. Mudhra described it as a “commercial docu-series” on an interview w/ professor Sree Srinivasan on his YouTube channel (see comment below for full video).

For the first few days after its release, I resisted watching it (b/c I usually don’t watch everything that’s “popular”). Then, last SUN, I gave in… and quickly realized WHY so many viewers found it “cringey.” I found it partly cringe-worthy, but also partly tolerable (as in I couldn’t look away). There are two characters (one in US, one in India) who I could relate to. I will keep this spoiler-free, BUT I must warn you that sensitive issues will come up (see comments below for further reading). Is this show regressive, or is it revealing hard truths re: the arranged marriage process (“holding a mirror to nature”)? Are desis hungry for representation? Is this show enjoyable? Let me know your thoughts below!

The show follows 7 single individuals of Indian heritage (ranging in age from mid-20s to mid-30s) living in the US and India. They’re clients of the narrator/main protagonist, Sima Taparia, who refers to herself as “Mumbai’s Top Matchmaker.” Her business is “booming,” as arranged marriage is the norm in India (no stats are given on this, but it’s part of the culture). Sima Auntie (as she is commonly known) explains that she works w/ more “traditional families” who see marriage as a union of two families, not only the couple. The clients in India are among the 1% (elite): a jeweler (Pradhyuman), an engineer who went to college in the US (Akshay), and a fashion designer/entrepreneur (Ankita). The clients in the US are middle to upper-middle class; this group includes an educator in Austin (Vyasar), a lawyer in Houston (Aparna), a Guyanese dance teacher/entrepreneur in New Jersey (Nadia), and a Sikh divorced mom in Colorado (Rupam). Sima chooses matches for these people and sets them up on arranged dates, sometimes w/ family in tow.

There is no mention of how much money clients pay Sima over the 8 eps (around 30 minutes each), I assume it’s a hefty sum. It’s also assumed (by us in the desi diaspora) that most of Sima’s clients are Hindu, wealthy, and come from the upper caste; other viewers may or may not realize this. There is no discussion of the caste system. Some words are defined onscreen; “biodata” (a sort of resume for singles) is explained in detail. There are several instances where the words “tall, slim, and fair” (as in light-skinned) are used to describe prospective matches or clients’ preferences. Colorism is a big problem in India, as well as other nations of the world. The way these words are used may not shock most desis, but this show isn’t only being watched by us. It was a BIT jarring- at first. The words “good character” and “good heart” were used often to describe individuals.

“The Wedding Guest” (2018) starring Dev Patel & Radhika Apte

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Jay (Dev Patel) is a quiet/mysterious Muslim man who travels from London to the Punjab region of Pakistan, supposedly to attend the wedding of a friend. He brings along duct tape, guns, several cell phones, and a plan to kidnap the bride-to-be, Samira (Radhika Apte). Despite his cold efficiency, the plan quickly gets out of control, sending Jay and his hostage on the run across the border and through different parts of India. Jay has various names and identities, so carries several passports and credit cards. He was hired by a wealthy man who is now nervous to meet up and pay. The kidnapping and fallout make international news (Samira is a British citizen). The story evolves into a road trip, but w/ settings we usually don’t see in movies.

The film (which I saw last week free On Demand) has British and Indian producers. It has some twists and turns, but isn’t a typical thriller. It seems to me like a neo noir (in some aspects). The British writer/director, Michael Winterbottom, is known for out of the box films; I’ve seen Jude and The Claim. The cinematographer, Giles Nuttgens, has shot several films in India (incl. Earth, Fire, Water, and Midnight’s Children w/ director Deepa Mehta). The music, composed by Harry Escott, is unique and helps to create tension. The attraction between Patel and Apte develops as they open up to each other (slowly); they have good chemistry together.

[1] The movie benefits enormously from Dev Patel’s excellent work. He is in virtually every frame of the movie. Indian actress Radhika Apte… turns out to be a worthy sparring partner for Patel.

[2] You’ll like this movie if you like human characters, feelings, & relationships, along with a “slice of life” style, where you witness the characters move through a time & set of shared experiences together & may end well, badly, or anywhere in between.

Patel is now a mature leading man — in this movie, a bit of a Jean Reno type. He’s deadpan, but I like it.

-Excerpts from IMDB reviews

“Water” (2005) starring Seema Biswas, Lisa Ray, & John Abraham

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[1] The film is lovely in the way Satyajit Ray’s films are lovely and the best elements of Water involve the young girl and the experiences seen through her eyes. – Rogert Ebert (The Chicago Sun-Times)

[2] Not a dry eye in the house by the time the film ends! Unforgettable and grand in my view; a fabulous achievement for all involved!

[3] The beauty of this movie is the incredible acting. The performances are so touching and so eloquent that you are drawn into the story and the feelings of the women.

-Comments from viewers on Amazon

[1] Despite the bleak conditions portrayed in the movie, there are moments of wonder and comedy and great love. 

[2] The script articulates the tragedy and hypocrisy these women must bare, but it also illustrates the quiet revolution we must all experience in order to grow, in order to change. 

-Excerpts from IMDB reviews

Water (shot in both Hindi and English) was nominated for the Best Foreign Language Film Oscar at the 79th Annual Academy Awards. The Vancouver Film Critics Circle named Deepa Mehta (an immigrant from India) the Best Canadian Director of 2006. Many viewers have praised the look of the film. The natural beauty of the setting is captured by cinematographer Giles Nuttgens, a Brit who won an Oscar for his work on Hell or High Water; he worked with w/ Mehta on her other trilogy films: Fire and Earth. The music (which adds to the story) was composed by A.R. Rahman; the lyrics were written by Sukhwinder Singh.

I would prefer to be known as a storyteller. I don’t set out to provoke reactions. I don’t even feel vindicated, but the irony does not escape me. It is like my father used to say: the two things you could never predict were the day of your death and the success of a movie. -Deepa Mehta (on Water‘s success)

Filming began on Water in 2000 with Akshay Kumar and two actresses who worked w/ Mehta before- Shabana Azmi and Nandita Das. This film was stalled due to protests in India; sets were vandalized (in organized attacks from Hindu nationalists) and Mehta’s life and those of the actors was threatened. Production was restarted in 2004 in Sri Lanka w/ model-turned-actor John Abraham (before he hit it big in Bollywood), Seema Biswas (an indie/theater actress), and Canadian actress Lisa Ray (who was in Bollywood/Hollywood– also directed by Mehta). Ray studied to improve her Hindi, as it is not her first language; her mother is Anglo-Canadian and her father is an Indian immigrant to Canada.

The unknown girl who plays Chuyia (Sarala Karlyawasam) didn’t speak Hindi; she is Sri Lankan and never acted before this film! She does a great job, as everything comes across as natural and believable. Chuyia (only 9 y.o.) is a catalyst for change and the viewer’s entry into this ashram of widows; she doesn’t know what to expect either. There is a hierarchy among the women who live humble lives of poverty. Chuyia finds a mother-figure in the spiritual Shakuntala (Biswas); she tries to help the child adjust to this bleak life. Chuyia forms a friendship w/ the beautiful young widow, Kalyani (Ray). By chance, Kalyani meets a handsome young man, Narayan (Abraham), who is another change-agent. Chuiyia upsets the order of things w/ her spirited personality; Narayan brings in revolutionary ideas from Gandhi (incl. that widows should be allowed to remarry).

“Taal” (1999) starring Akshaye Khanna, Anil Kapoor, & Aishwarya Rai

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This Bollywood film (which Roger Ebert mentioned) is a little bit country and a little bit rock ‘n roll. Manav (Akshaye Khanna), the son of an uber-wealthy family (raised overseas) falls in love w/ Mansi (Aishwarya Rai), the beautiful/shy daughter of a talented rural musician/teacher. He nervously follows her and her girl cousins around and snaps pictures (don’t do this, kids). Mansi’s father warmly welcomes Manav’s father, brothers, and business associates to his house. Though reluctant at first, Mansi decides to give Manav a chance to get to know her. Their first date (or meeting, as Bollywood often uses) is a sunrise yoga lesson high up in the hills.

Their relationship is mocked by Manav’s extended family; when they go to the city, Mansi and her father are humiliated (having to wait outside for hours, then insulted verbally). Mansi has a strong relationship w/ her father; both are humble, straight-forward, but also very proud. Vikrant Kapoor (Anil Kapoor), a slightly older record producer, discovers Mansi’s knack for singing/dancing and helps her climb the ladder of success. As Vikrant exlains, he takes songs from the villages and turns them into hits (remixes). Manav tries to make amends, but Mansi ignores him. In time, Vikrant, finds himself developing feeling for Mansi, too.

Taal (meaning “rhythm” in Hindi) is a must-watch for its hit soundtrack; the music (composed by a young A.R. Rahman) is considered “timeless!” I thought all the songs were great; I esp. liked Ishq Bina (featuring Sonu Nigam), Taal se Taal (sung by Alka Yagnik and Udit Narayan), and the remixed version of Ishq Bina Ishq Bina (sung by Kavita Krishnamurthy and Sukwinder Singh). Early in the film, it’s fun to see Rai w/ almost no makeup and wavy (natural) hair; she looks fabulous nonetheless! The ’90s hairdos, bright colors, and funky styles the back-up dancers/singers wear are a blast from the (recent) past. There is simplicity, innocence, and a flow to (most of) this story. The woman at the center of the story isn’t given much agency; Mansi goes along w/ what Manav or Vikrant have planned. The movie was shot in some unique locations, incl. Toronto, Ontario and Niagara Falls, NY.

“Padmaavat” (2018) starring Deepika Padukone, Ranveer Singh, & Shahid Kapoor

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SPOILERS: Don’t read this post if you haven’t seen, or don’t want to know, details from this movie.

Set in medieval Rajasthan, Queen Padmavati is married to a noble king and they live in a prosperous fortress with their subjects until an ambitious Sultan hears of Padmavati’s beauty and forms an obsessive love for the Queen of Mewar. -Synopsis

I didn’t know I would have to suffer THIS much just to see Shahid Kapoor’s spectacular abs! Seriously, this is one Bollywood movie (directed/co-written by Sanjay Leela Bhansali) which deserved the controversy it got- it’s misogynistic, Islamaphobic, and homophobic. One army is shouting and riding through a desert carrying green flags w/ a white crescents (just like the flag of Pakistan). There is a scene of many men all wearing white thobes and turbans doing namaz (prayer), then yelling and picking up weapons to fight in the next moment. The stereotypes are so blatant, this movie could be considered dangerous (esp. given the tensions between Muslims and Hindus in Modi’s India)! For those of you who watched Game of Thrones, there is a murder scene very similar to the killing of a lesser Lannister cousin by Jaime in Season 2.

I’m sure some of you’ve heard re: the characterization of the medieval sultan, Alauddin Khilji (Ranveer Singh); he is violent (even w/o cause), lustful (incl. for power/lands), obsessive, and animal-like (eating raw meat w/ his bare hands). In stark contrast, Maharawal Ratan Singh (Shahid Kapoor), is peaceful, loving (having eyes only for his wife), calm, and honorable leader. I learned that one of my fave veteran actors (who has worked all over the world), Naseeruddin Shah, is a maternal uncle of Kapoor! Yes, the actor has both Hindu and Muslim heritage; this is not unusual when it comes to some of Bollywood’s film families.

In the early 1300s, an arrogant/confident prince named Alauddin marries his cousin, Mehrunissa (Aditi Rao Hydari), and plots to take the throne of her father/his uncle- Jalaluddin (Raza Murad). None of the Muslims in this movie are portrayed as good, aside from the luminous/sad-eyed Mehrunissa. In one memorable scene, a warrior named Malik Kafur (Jim Sarbh), kills two hardened soldiers with balletic/swift strokes of his knife. Unfortunately, he spends most of the movie pining after Alauddin like a love-sick teenager.

When Mehrunissa is close, Kafur is jealous. In one scene, he is washing Alauddin while they sit in a big bathtub (talk about homoerotic undertones)! In the original story (written by a Muslim poet), Malik Kafur was both a fighter (respected general who fought in many successful battled) and a lover. In Ridley Scott’s Alexander, he has a handsome male companion who hails from somewhere in the Middle East; this was based on records uncovered by historians. In this case, Malik Kafur’s homosexuality serves as a running joke and makes Alauddin seem like even more of a freak of nature.

The princess (of what is now Sri Lanka), Padmavati (Deepika Padukone- sporting an unibrow), is first seen frolicking in the woods w/ a bow and arrow. This might bring to mind Diana (the huntress in Greek mythology) or Katniss from The Hunger Games trilogy. She attempts to shoot a deer, but ends up wounding the King of Chittor- Ratan Singh! He admits that it was his fault- he was staring at her (struck by her beauty, not just her arrow). Padmavati takes care of the king (in the cave where she lives- no reason why) while he recovers. This section of the movie reminded some viewers of Wonder Woman.

Of course, Padmavati and Ratan Singh fall in love; the actors portray this well. She gives Ratan Singh handfuls of pearls (which he had been searching for at the request of his queen). The marry and go off to his kingdom, where his first wife, Nagamati (Anupriya Genka) is put on the back bench. When the court priest- Chetan- is caught spying on the king and queen; he is promptly banished. Chetan ends up working for Alauddin, convincing him that in order to succeed, he must have Padmavati by his side! This is one character I wanted to see a bit more of, along w/ his motivations.

The middle section of this story drags on… and on; the viewer is bombarded w/ scenes of dust, desert, marching armies, as well as the opulence (of the Rajputs). Honestly, I couldn’t judge who had the better costumes- Kapoor or Padukone! Eventually, Ratan Singh invites Alauddin to share a meal and talk alone (w/o any men or weapons). When Alauddin asks to see Padmavati, Ratan Singh is deeply offended and says no. Alauddin says that he expected to meet both the rulers. Padmavati convinces her husband that, in order to appease Alauddin (and maybe save the kingdom from war), she will let him see her. Before Alauddin can get a good look, a curtain is pulled down, hiding the queen. This makes the sultan very angry; he vows to get Padmavati to come to him! Alauddin invites Ratan Singh to his tent for meal, then kidnaps him. Though Nagamati pleads w/ her not to, Padmavati insists on going to rescue her husband (w/ his two best soldiers by her side and 800 attendants).

The movie opens with some disclaimers, one being that it is not endorsing jauhar (Wikipedia: “the act of mass self-immolation by women in parts of the Indian subcontinent, to avoid capture, enslavement and rape by Islamic invaders, when facing certain defeat during a war.”) As some of you may have guessed, jauhar is closely connected to sutee (“bride burning”)- the custom of a Hindu widow being burned to death on the funeral pyre of her husband. Kaushik Roy said that the jauhar was observed only during Hindu-Muslim wars; John Stratton Hawley states it was present before them and was likely started by the actions of the Greek conquerors.

Well, in the last act of the film, jauhar is most obviously valorized! After the fight between Alauddin and Ratan Singh (where the good king is shot in the back), the girls and women (incl. ones who are pregnant) inside the fort are seen dressed in their finest (bridal) red outfits. They are led by Padmavati, who defiantly declares that Alauddin’s army will not defeat them. They walk in a slow procession for some time- too long- and bravely walk closer… and closer to a huge wall of fire. No one looks nervous, scared, or even hesitates for a second- that can’t be realistic!