Bollywood/Hollywood

I see some of the reviewers here describe this as a parody of or satire on Bollywood musicals. Having seen nothing of Bollywood except a few music clips, I can't talk about that. I have to take this movie at face value, and on its face this is a moderately diverting musical with a few good moments amidst too many rather drab ones.

The story is somewhat interesting, the character of Sue, who fulfills the role of shaker-upper-of-things is quite appealing, and some of the musical numbers are pleasant (surprisingly, no one sang in that helium-junkie pitched style the girls all seem to have whenever I see clips from Bollywood musicals, although I don't know if this is because they were trying to make the movie more appealing to the west by having a more western-style voice singing these Indian songs or whether that high-pitched voice isn't as common as it seems to be). But the movie feels underdeveloped (even though I found it a little dull, I still felt it needed to be longer to flesh itself out) and most of the characters are overly generic (except for the grandmother and Sue's father). Ultimately watchable but nothing more, unless you're a fan of Bollywood films in which case this may work on a whole different level I don't see.

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!

When you don't expect much from a movie and it makes you smile, laugh and gaze – then it can be said that it is a has been worth while.

What made me smile? Well it was really the whole concept of BH. English dialogue being spoke by Indians and them dancing to Indian songs. It was a reminder that 2002 was definitely the year off bollywood in the UK. I saw BH at the same time as seeing the West End production of Andrew Lloyd Webbers ‘Bombay Dreams' and they both made me sit up and look twice. Also the director has purposely ensured that it is a simple story line, easy to follow and easy to relate to. A plus point is that it is the length of an English movie rather than an Indian one (90 minutes compared to 240).

What made me laugh? Definitely the grandmother and her quotes. Dina Pathak definitely did a good job on this and was good to she her outside her Indian movies. The over the top mother was also very good, typical of some mothers.

No need to guess what made me gaze? Well it was Lisa Ray. This movie really made me look up and take notice of her. Her performance is good, though with some room for improvement. She looks really good in the song ‘Sona Sona'.

Overall, a good entertainment movie to watch on a night in.

I am a fan of satire, and this movie has not been appreciated for what it is - a spoof, not only of the high flying Bollywood musicals with weeping widows and on-cue dance routines in full costume but it is also a subtle rendition of Shakespeare's own comedy plays of mistaken identities and the "play within the play" feature which was witfully alluded to by the comic relief Indian Grand-ma in sneakers who bemoans "All the world's a stage" often enough to wrangle out a grin. I found it delightful and light which doesn't disappoint in wrenching out a smug smile and leaving one feeling good. Much needed therapy for all sub-continents nowadays. Don't expect Bollywood - or even Hollywood - when settling back to take in the action as it flies at you full throttle - but a magical space in between in suspended disbelief.

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.