Bombay Talkie

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.

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.

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.

This wasn't the worst movie I've ever seen, but it was pretty awful, and I would only recommend watching it expecting the worst so that perhaps you are pleasantly surprised by it. My least favorite thing was the main female character, Lucia, and her self-obsessed, insensitive, manipulative, passive-aggressive way of behaving. She was a terrible person and also looked much older than her supposed 32 years of age! It was difficult to understand the motivations or behaviors of most of the characters and the scenes/events seemed rather disconnected. I also was hoping for a lot more of the Bollywood movie industry and got very little of that except for the opening scenes. I'm not a fan of this movie.

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.