That Girl in Yellow Boots

It really is a tough movie to watch. And not just because it switches languages, but because of the theme of the movie. You have a daughter searching for the father. So be prepared for a story that does drag and is not really filled with much excitement. No pun intended, especially considering on how she makes money and tries to get information out of people (again no pun intended with this either of course).

So while on a mission we can see certain things in society, how she is being treated, how she behaves, what she has to do and to what lengths she is willing to go for the truth. You can say that there is feminism in there, but the important thing is, an individual trying to get to the bottom of things ...

With "That Girl in Yellow Boots", Anurag Kashyap moves into what is known as the International art-house circuit. Films here are generally about weird out of place characters stuck in emotional turmoil. Generally sexuality or the abuse of it is the undercurrent theme of most of these films. Most characters are depraved and yet seemingly deep. Most importantly most of it is about people who you will never meet or never know in real life. The situations and locations in the films will be so out of place that you will trouble identifying with almost all of them. These films are bold and more often than not for the sake of being bold.

"That Girl in Yellow Boots" is all of the above. Shot extensively well it tells a poignant story of an English girl Ruth (Kalki Koechlin) who is illegally in India. She is searching for her father who left her and her mother a long time ago. To sustain herself and pay the bribes to the authorities she works in a massage parlor where she also earns a quick thou on every hand job she does. To add to this dreary existence is a cocaine addicted boyfriend (an unknown Prashant Prakash) and a Kannada gangster (a brilliant Gulshan Devaiya last seen in Shaitan) looking to get his money back.

Many other world weary characters come and go. Like the annoyingly loquacious massage receptionist who keeps flirting on the phone (a superb Pooja Swarup), an old fatherly figure (Naseeruddin Shah) who only comes to the parlor for a good clean massage and a slimy inspector who keeps turning up and demanding money (for what reasons we are never told).

Amidst all of this the film becomes a list of interlaced seemingly disconnected scenes of either Ruth massaging (read pleasuring) someone or searching for her father by finding his namesake who has the same occupation as her father.

The film pretty much has a solid Kalki in every frame. She lights up at every opportunity that brings her nearer to her father and at the same time makes you realize her frustration as someone who is constantly meeting expectations of strangers. It is a wonderfully dark role and Kalki's silence at most times speaks volumes.

Anurag Kashyap as usual frames each shot with much care but one can't help but wonder that he seems to have blurred the line between shocking us through realistic characters in extraordinary situations and shocking us for the sake of shocking.

So in the end you might end up questioning why such unnecessarily outrageous, vulgar and sexually charged up tones are present in almost all representations in this grim mystery. Why is it that the boyfriend is such an extreme figure trying to rehabilitate himself by chaining himself to a window? Why is the gangster called Chitiappa, so that the C word can be repeated again and again? and not to mention the art decor house that Ruth lives in which seems overtly engulfed with decay. Or for that matter the shocking ending which folks would have seen coming half way through the movie (though not the identity of the person in question) I guess Anurag constantly is trying to break the barrier of how politically incorrect he can get with his movies and if the price to pay is a storyline or disconnected characters, then so be it. What he does not realize is that audience will only remember this for the shock value and not some artistic vision that the International Art-house Circuit often enjoys.

But to his credit, there is one thing that the film does prove that Anurag Kashyap can handle complex emotional subjects with amazing control and not create something that could have easily slipped into a depressing and ugly snooze fest. In the end, TGIYB would be remembered as one of the also made for a director who would eventually be counted as one of the all time greats for Indian Cinema.

Final Recommendation That Girl in Yellow Boots is worth a watch but to film freaks who like to be shocked and are looking for the discerning stuff esp. for fans of Gaspar Noe and Lars Von Trier. For other enthusiastic fans of the multiplex movies (read Shaitan, Dev D etc. ) this may not be the shoe they want to try on. Fans of commercial fare like Wanted and Dabangg might as well stay miles away from this lest they get nightmares.

You can simply HATE or LOVE Anurag Kashyap Movies but you can't just Ignore it, this movie has just blown my mind, Movie passes through many events which are hard to Resist, but in modern society we go through it thoroughly, if you don't believe me watch news daily. the people who don't like experimental and Dark Version films may not enjoy this film much, Kalki Koechlin's Acting was stunning & gripping, 👌👌 She plays a character named "Ruth Edscer" a British woman who comes to India, to search her father. the whole movie is above our imagination. this movie was completely ahead of that time-period. i enjoyed it totally, i give it 9/10 Stars Thank you. 😉👍

Emily, a troubled British girl, embarks on a dark journey in the slums of Mumbai to find her long lost father. She'll learn a lesson that could be useful for us too: sometimes, ignorance is bliss. Ignorance about people, places, ideas. The world isn't our playground.

Brilliant script, good acting but definitely not for everyone.

Steve Jobs, the 'ex' CEO of Apple Inc. once said, "It isn't consumers' job to know what they want." This mantra fits well for the new age cult filmmaker Anurag Kashyap, who has drawn a strong line between the mainstream and the parallel with all his movies as a director or a writer. Following those words, made them respected names in their arenas.

His latest offering That Girl In Yellow Boots, co-written by Kalki, is "socially" not intended for the audience we see in this country. God knows how he arrived at the concept of this movie...may be after getting intoxicated and sunken into the pervert sex stories? After scripting this idea and actually materializing it into a feature film needs gutsy balls. Said it. Indian producers are obviously not that ballsy to produce it, only if they get time and money from puke-like sugar candies and silly remakes. So valid is the irony of this filmmaking: 13 days to shoot the entire film and 2 years to release it! Coming upon the movie, Ruth Edscer (played by Kalki) in her metaphoric Yellow Boots is trapped in labyrinthine Mumbai, in search of a man who she hasn't seen since childhood and he also happens to be her father. In this quest, she comes across men of all kind- some "Men is Dog" kind at foreigner's registration office, a generous Diwakar (Naseeruddin Shah) at the massage parlor with the name "Aspaspa" where she works without a permit, his druggie boyfriend Prashant (Prashant Prakash), gang-man Chittiappa (Gulshan Devaiya) are some to mention. The numerous male characterization sets layers for the story to proceed: Makarand Deshpande as post master, Ronit Roy as a humble but unhelpful policeman, Piyush Mishra as a rickshaw-wallah and also Rajat Kapoor.

Fixed with the plot, the film runs for around 1hour 30 minutes with each frame mellowed with dark creativity of arts and lights (reason: low production this time, may be) adds a charm to the kind of the tale it is paced to tell. Rajeev Rai's camera work with some guerrilla technique shots, trademarks the Anurag Kashyap kind of filming. Editing by Shweta Venkat and the parallel storytelling carves to enter the dark psyche of the protagonist. The debut music director Naren Chandavarkar grips harder onto the film with the background score- a striking folk genre sung by Shilpa Rao to portray the lead Ruth.

Performances of almost every character, as they appear on the screen, hits hard - be it Makarand Deshpande only for seconds or Naseer Saab in all his short appearances. The other support Prakash and Chittiappa are worth watch. And to find a humor in this dark tale, there is Maya as the manger of Aspaspa, played by Puja Swaroop. Kalki is thrilling as Ruth, speaks with silence and her eyes.

Kashyap, as always, asks his audience to feel the movie rather than to enjoy it. And, once you are sunken into the concept he pictures here, you are shocked with its disturbing climax. With the Indian Censor Board passing this concept and National Film Development Corporation producing it, I see some maturity in them and expects the same from the audience. Digest this. Have Gelucil. No puking.

An urge to the Bollywooders: If a director, known for his critically acclaimed work, risks it with his future on stake and has balls enough to throw an idea beyond the scope of Bollywood that producers will never risk, isn't it your job as a part of liberal cinema lovers to see the bar rising just at the cost of a movie ticket and some time? Like. Dislike. Your say. Ideas need to be projected.