India
Ismene Brown
Jane Austen would approve, I think, of the plot of La Bayadère, which is about class and wealth getting in the way of love. She might have difficulty with the setting. It is a grand, exotically located ballet offering us an fantastical India of Rajahs, tiger-hunts and sex-slaves - or rather temple-dancers, whose job is to carry holy water to the needy and put up with the unwanted lust of the High Brahmin. There is jealousy, murder, drug-taking and mayhem as the temple collapses, and final union beyond this world for the leading couple. And all of that comes with the single most heavenly scene Read more ...
Tom Birchenough
Poetic restraint dominates Ligy J. Pullapally’s 2004 Kerala-set lesbian drama The Journey (Sancharram). Based on a true story of a relationship between two young women that ended in one's suicide (a conclusion that’s left open in the film), its opening symbol is a butterfly, and flight would indeed be the only escape for its schoolgirl heroines.It would be away to a city from the small town - which looks rural and idyllic, centred around the school from which both girls are due to graduate - where social pressures dictate that conventional family life must be adhered to. When the slow- Read more ...
Jasper Rees
It’s always the second-rate fiction which makes first-rate films, because there’s nothing to lose but plot. Midnight’s Children, lest anyone be allowed to forget, is first-rate fiction. It has won the Booker, the Booker of Bookers and James Tait Black Memorial Prizes and is listed somewhere or other as one of the Great Books of the 20th Century. That year you missed the broadcast it probably won Miss World. The novel has been sitting around on the runway awaiting adaptation since the late 1990s, when production in Sri Lanka was pulled at the last minute. To help it along this time round, it Read more ...
mark.kidel
While living in Bombay in the late 1940s, betrayed by a business partner and his first marriage in the midst of painful implosion, Ravi Shankar decided to commit suicide. At the eleventh hour, a holy man, who happened to be passing by, knocked on his door asking for water. The man told Shankar that he was aware of his fateful decision. This wasn’t, he went on, the right time to be renouncing life. He had a great future ahead of him, the sadhu continued, and a major role to play in the dissemination of Indian music throughout the world. The man became Ravi Shankar’s spiritual teacher, and for Read more ...
sheila.johnston
Never quite at the top of the Shakespearean canon, Much Ado About Nothing now seems more vital and adaptable than ever – and vastly darker than, say, Kenneth Branagh’s sun-kissed screen romp acknowledged back in 1993. The cult director Joss Whedon unveiled his low-budget, film noir version earlier this month at the Toronto Film Festival to rave reviews.Meanwhile Iqbal Khan’s new stage production set in contemporary Delhi underlines the sexual anxiety coursing through the play beneath the frothy surface: the obsessive references to cuckoldry, the fear of female infidelity and the fine line Read more ...
Thomas H. Green
The look for many young Asian guys in deepest west London appears to focus on how thin they can sculpt their goatees. Well-muscled, chiselled even, sporting either a bowl-crop or one of those spiky, gelled, junior estate agent haircuts, and clad in the ubiquitous sports casual that hip hop has wrought, it’s still their beards that draw the attention. These are pencil-thin lines from the ear to chin, interconnected by another over the mouth, part Errol Flynn, part Armand Van Helden.Right now, though, they’re not listening to pumping bhangra, as they have for much of the day, they’re watching Read more ...
Sarah Kent
Premiered in 2007, Bamboo Blues was generated by a visit to Kolkata; and with the simplest of means, designer Peter Pabst conjures the vast landscapes of India. The first half unfolds against a backdrop of white muslin curtains rippling in the wind; the long hair and flowing dresses of the dancers are similarly activated by this elemental force, whose energy creates an ongoing sense of excitement and expectation (even though we know the air currents are generated by a wind machine).Later the curtains become a screen for footage of palm trees and dense forest; for scenes from the Read more ...
Matt Wolf
It's both easy and fashionable to render ironic, or scoff at, the title of All's Well That Ends Well. This is the Shakespeare "comedy" in which the rabidly obsessed Helena finally ensnares her none-too-doting Bertram in a putative happy ending that tends to be played as if the pair are advancing toward the gallows. But it's in the way of Shakespeare's Globe in general and the miraculous Globe to Globe season in particular that, as served up by the Arpana theatre company from Mumbai, one of the Bard's three problem plays emerges as both jubilant and touching. And also every bit as colourful as Read more ...
Veronica Lee
It's a truism of modern television that a programme rarely gets made without a celebrity being attached, but in this case there was a very good reason for Felicity Kendal being on board. Her parents, Laura and Geoffrey Kendal, founded Shakespeareana, a travelling theatre troupe that performed Shakespeare in India in the postwar decades; many will know their story from Merchant Ivory's 1965 film about the company, Shakespeare Wallah.Like her parents, Kendal has a deep love of both Shakespeare and India, and this programme was shot through with that genuine affection. She still speaks some Read more ...
Matt Wolf
Replace the charmingly quirky with the merely cute and you have All in Good Time, Nigel Cole's film of the popular 2007 National Theatre play by Ayub Khan-Din about a British-Asian family confronted with the kind of crisis for which happy endings were invented. Khan-Din's previous stage success, East is East, made it zestily to the screen in 1999, suggesting no reason why Rafta, Rafta ... (to lend this later play the Urdu title from its stage incarnation) couldn't follow suit. That the results are more conventional testify to the ways of the celluloid world, though at least Meera Syal Read more ...
alexandra.coghlan
Literary adaptations are a godsend to an industry that loves a good story but is too busy blowing the budget on chase sequences and explosions to pay a decent screenwriter. But among the glossy, desperately earnest adaptations (last year’s Jane Eyre, this year’s The Great Gatsby) there are also some quirkier reworkings that invite audiences to play an extended game of spot-the-classic – Clueless (Jane Austen’s Emma), Tamara Drewe (Far From The Madding Crowd) The Lion King (Hamlet – yes really). The novels of Thomas Hardy have drawn more attention than most, providing a whole filmic sub-genre Read more ...