Bombay Talkie

This 1970 movie starring the then Indian heart throb Shashi Kapoor, and his long time wife Jennifer Kendal, or Kapoor (billed with one or the other name in her films)is in a time warp. An early merchant-Ivory production, it shows how far this duo and their other usual collaborators have come. On another level, to see what Bombay looked like 30 years ago, compared to what it is today is a shocking experience in time travel. To see Shashi Kapoor as a slim youthful sex symbol today, when one has been seeing him in the 90s, say, in 'IN CUSTODY.' as an incredibly obese old dying man with now lightened hair, is also one of the most striking transformations of any former sex symbol in history. Marlon Brando resembles his former self much more than Kapoor, just to hint at the transformation. Another step back in time is to see Kapoor's long time wife (married from 1958 until her death from cancer in September 1984) in essence playing herself. Except for the refreshing, nostalgic look at Bombay, the other subjects this film features are best left alone, like the dead. What you will see is very depressing. And the entire theme of the movie, already weak in 1970, is completely irrelevant now. Spare yourself the pain. I only got through it because I didn't realize the youthful, healthy Kapoor was the monstrously looking creature he is today. And even when the utter bitchiness of the late Jennifer Kendal had me on the edge, I stuck it out through the rest of the film. But it is an experience I would not recommend.

I agree with Dilip, it is an OK movie, but the DVD that I got from my library had an added feature - a half hour of dancer Helen. She is really over the top. So skip the movie and enjoy Helen!!!!! I have to give ten lines of text, so here goes. The opulent sets and costumes of the movie were a definite plus, a nice look at the modern wealthy Indian life style. While not great, the movie's plot did generate some interest. For me high lights of the Helen feature were her cabaret dance with an caged afro-wigged "wild man" and a portrayal of a drunken bar patron at the end. During the course of this half hour she dances through several world dance genres.

Lucia Lane (Jennifer Kendal), self-absorbed and demanding, is a British author who has come to Bombay to research her next novel. She falls in love with Vikram (played by Kendal's real-life husband Shashi Kapoor), a younger, popular Bollywood hero. The already complicated relationship is worsened by the fact that Vikram's wife (Aparna Sen) knows of the affair, and that his friend, Hari (Zia Mohyeddin), is in love with Lucia, and roiling with jealousy.

Ruth Prawer Jhabvala has written a screenplay that is both credible and compelling, with dark undertones. One simply can't like Lucia and Vikram, and yet one must continue to watch as they head towards disaster. As with many Merchant Ivory films, this one relies heavily on the actors' facial expressions to show emotions and set the mood, and these four main actors do an excellent job. Overall, it's a rather unpleasant movie that will simultaneously grip and repel, and keep the viewer watching till the very end.

A sad take on Bollywood. The plot is predictable, the space lethargic and the characters off-putting. Worst of all it is dubbed, and dubbed badly. In the second half of the C20 there was no excuse for such shoddy work, especially from film makers of such fame: compared with Shakespeare Wallah and other fine movies made by the same team it is dismal. It should have been called Bombay Dubbie. It is little consolation that many great creative artists have their lapses. Curiosity value apart the film has little or no merit.

An early film by my favorite trio Ivory, Merchant and Jhabvala, failed to light my senses in this nonsensical musical farce. The additional content on the DVD is much better with a feature on the very talented Helen and the customary chat with the trio on making of this movie. This film seems to insult everyone: a very uncaring and self indulgent white authoress, a very lustful Indian actor with no scruples, a charlatan guru, and a mediocre poet with an obsession to murder. Mix this lot in a movie and you get the customary tale of confusion and bad acting. Some moments of the film are memorable including the beginning scene on the giant typewriter, the incredible shots of the staircase at the hotel, and the general view into Bombay film making of the 70s. The ending is, well, rather abrupt, and I was glad it was. Rent it just for the extras on the DVD.