Sedução na Índia

I love the Merchant Ivory films and I love the 70s aesthetics, so I was quite drawn initially into this movie. The initial sequence around the giant typewriter is spectacular.

Unfortunately, it just fizzled out from that moment onwards. I just couldn't bring myself to care about any of the characters: the guys are stupid, the female lead vain, narcissistic and self-centered to the point of implosion.

It remains somewhat watchable as a document of an era, but it's a surprisingly poor movie.

To the point - depressing with almost no redeeming qualities. If you want to see a movie about decadent society where the characters live in their own world, totally selfish and painfully and immaturely oblivious to how their actions may affect others, or if you can at least get over this, you may enjoy the sets of a movie in the movie and perhaps some of the costumes. I picked up this video from my public library expecting something great from Merchant-Ivory-Jhabvala, but was badly disappointed. Sometimes a film leaves you feeling sad and incredulous, and usually when it does, it is for good reason, causing you to focus on elements of human nature or society and perhaps moving us to action. This film left me with negative feelings, but with very little good to remember or be inspired by. I wish I hadn't seen it - but I may have missed something that others may find corresponds to good film. 3 or 4 stars out of 10.

--Dilip, written minutes after watching this video on Aug. 29, 2003

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.

I don't know of many films that explore behind the scenes of the prolific Indian film industry, but I love the view into a new world offered by this one. In general, I like the films of Merchant-Ivory- they are almost always beautiful, well-crafted, well-acted and excellent at handling delicate subject matter, subtle emotions, and stories of character growth and psychology. I think BOMBAY TALKIE is one of the best, on par with the later triumphs of A ROOM WITH A VIEW, HOWARD'S END and REMAINS OF THE DAY. Visually, the movie has that stunning, crisp, breath-taking combination of color, light and space that made every frame of A ROOM WITH A VIEW so wonderful to watch- and the beauty of the film's (BOMBAY TALKIE)visuals are especially nice considering it was made in 1970. The use of music, singing and dance also bring an interesting quirkiness to the film, and help present the world of the characters- all of whom are interesting, especially the hero, his wife Marla (who gives a stunning performance), and his ex-girlfriend (the scene between her and the hero, once Lucia has left him to follow a guru, is one of the most beautifully executed late night conversation scenes I've ever seen, and gives so much insight into a relatively insignificant character's life and relationships- on par with the drinking scene in Hal Hartley's SIMPLE MEN). Most fantastic about this film was the screenplay- one of Ruth Prawer Jbvala's better ones, well-directed (as usual) by James Ivory. It is poetic, when it needs to be, sinister when the moment calls for it, and it ties nicely into the ending with excellent stops along the way to comment on Hollywood film making, sham-spiritualism quests by Westerners in India, the loneliness of art, the stupidity of petty, fear-controlled people, and the destructive quality of unhealthy obsession. A fine, enjoyable film, not at all dated, not for everyone by any means, but worth looking into if you're interested in seeing something different.

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.