Miss Lovely

Miss Lovely is not an easy movie. It's not a movie that will ever play at a hundred mutiplexes and draw large popcorn eating crowds. But it's a fantastic movie, a sweaty, fever-dream of a movie, and it's wonderful that people are engaging with it. There is simply nothing like it in Hindi cinema - and like it or not, that is one thing I'm sure no one can argue with.

Miss Lovely doesn't offer anything like a straight plot, and it has no real stars - save for the "discovery" of Nawaz Siddiqui (this film was his first lead role). He's great in it, as is another "discovery" Anil George (who plays the demanding elder brother with an intensity unseen before in Hindi cinema). For me however, the film belongs to Niharika Singh, who plays the mysterious 'Pinky'. On one level, she is a femme fatale of yore (like in a 1950's Noir film), on another she's a complete cipher, a blank slate. You can project anything you want on her and she absorbs it. This could be seen as insignificant characterization, but I saw it simply as a struggling character who exists in the shadows of the film industry, someone you know almost nothing about but around which most of the plot revolves - like an empty center. Her mix of coyness, intensity, disinterest, coldness & warmth is terrific and incredible subtle.

That said, this is one of my favorite films of the year so far, and I'm glad to see this kind of edgy, fearless filmmaking coming from India.

Films like these provide an eye opening reality to college students, especially those pursuing Media related courses in colleges. I would love it if the makers offered us an opportunity to perform a case study on every aspect of this film. Being a film student myself, I always knew of Ashim Ahluwalia. However this film has given me a chance to understand why he is an idol to many aspirants like me. The film is brave, crazy and goes against the tide. This sends out a strong message to all those who are clueless about the importance of emotions and humanity in an era where money has an edge over anything and everything. I for one am really happy that a film like Miss Lovely can be made and released. It offers hope to a lot of film students and younger filmmakers that something else other than the usual masala fare is possible.

Watched this at Cannes and early reviews were initially confused, almost dissuading me from checking it out and sometimes positioning it as a Boogie Nights style American film, other times describing it as Wong Kar Wai-like. IT IS NOT ANY OF THE ABOVE! It's expressionistic, strange, captivating, surreal, eccentric and one of the more beautifully designed movies in recent memory, specially if 1980s Asian pulp & auteur cinema appeals to you as it does me. Its fragmentary plot is uncompromising, yet deeply rewarding as a complex genre movie makes way for a much more poetic take on what it means to be trapped in a claustrophobic economic/ social world with no way out. Feels like a marriage between von sternberg and andrei zulawski (kind of)..def art house, though. The narrative is just straight enough to follow whilst being daring enough to baffle - many feel that the character of Pinky, the dream-girl that drives much of the film is too opaque, but for me she felt just right - a kind of mona lisa of the bombay underground. highly worth checking out.

Miss Lovely will generally upset many people - for the simple reason that it sets up lots of genres/ premises - and unsuspectingly dumps them to move onto something entirely unexpected. As others have written, this is NOT the Indian boogie nights or whatever was imagined of it - it is, in essence, an experimental pulp film (if such a thing exists). This film is a deconstruction of genre (as i saw it anyway), and this becomes apparent when you see how it switches from noir/ thriller to romance film (part of the theme of the film itself) and takes documentary, porn, horror and musical in it's wide cinematic stride exploding/merging all of the above.

Clearly more than tell a straight story, director Ashim Ahluwalia is devoted to questioning, analyzing, critiquing and (at times) upsetting social & filmic conventions here.

Working outside of the 'Bollywood' industry, Ahluwalia explores a number of ideas rarely seen in Indian cinema: social outcasts as (tragically heroic) protagonists, uninhibited sexuality, changing roles of women in society and the critique of (or deconstruction of) social structures and assumptions. Sonu & Vicky Duggal clearly represent a new form of rebellion (they are clearly anti-state, anti-film industry, "criminal filmmakers" if you will), and therefore give domestic and international audiences a glimpse into lives that would otherwise likely escape cinematic exploration.

Having seen a fair amount of contemporary Indian cinema, Ahluwalia appears like one of the few true innovators within this nascent movement, and is - for this reason - one of its primary players, explaining interest from Cannes & Toronto.

I saw this film at the Toronto Film Festival 2012 and was left speechless - this is a really hard-hitting, pulpy, gritty and rather radical take on the underground sleaze film industry in India in the 1980s. Like Sam Fuller & Dario Argento got together to remake an underground Bollywood film - and that doesn't even close to describing it. It vacillates between unscripted documentary and pulp thriller, creating a new hybrid style that is unlike anything I've seen before. If you're a fan of hard-boiled cinema with an experimental twist, I would strongly recommend this film. Beautifully photographed in classic cinema-scope with a mix of vintage film stocks. exceptional.