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Movie Review: The Best Exotic Marigold Hotel

Mariellen — Thu, 10 May 2012 19:18:42 +0000

Judi Dench in Jaipur, Rajasthan

Feel-good movie set in Rajasthan, India

“India hits you like a wave. If you resist, you will be knocked down. But if you dive into it, you will be all right.”

These are the words of The Best Exotic Marigold Hotel narrator Evelyn Greenslade, played by the luminous Judi Dench. She is one of seven British retirees who travel to Jaipur, Rajasthan, India to live in a restored “luxury” hotel for the elderly. Predictably, their expectations are not met — the hotel is a shambles and its future in doubt — and just as predictably, the characters who take up the challenges thrown at them find a new, unexpected life.

“What do you like about this country? What do you see that I don’t see?” asks unhappy Jean Ainslie (Penelope Wilton), who recoils in India and retreats into seething negativity. (I’ve seen this reaction among people quite often in India, unfortunately; and I’m sure other experienced India travellers have too.)

“The light, the colours, the smiles. The way the people see life as a gift, a privilege — and not a right. All life is here,” answers retired high court judge Graham Dashwood, played by Tom Wilkinson.

I liked the movie, but not for the expected reasons. I expected to love the portrayal of India — I did not. And I expected to like the direction, by John Madden who directed Shakespeare in Love — I did not. I thought Dev Patel (Slumdog Millionaire) was clownish; and there are a number of cultural missteps that drove my movie buddy (who’s from Delhi) mad. He wanted me to especially mention the broken landline phone — “no one in India uses landline anymore” — and the scene where Dev Patel and his girlfriend kiss and hug in public. This is really not done in India, especially not in traditional Rajasthan.

Kishanghar, Rajasthan stood in for Udaipur in the film

What I liked least about the film was the sloppy script and direction. The script needs a re-write by a writer with more originality; and the pace of the film should be slowed down. It was rushed and contrived. Add another half hour, and flesh things out! The ending, especially, seemed slap-dash.

What I liked most about the movie was the effect India had on some of the characters; the superb acting; the way the topic of aging is explored; and, mostly, Judi Dench. I thought Jaipur would be the star of the movie, but it is not. Judi Dench is the star. Like the other veteran actors, she’s at the top of her game. Someone on Rotten Tomatoes said the talented British actors in this movie are giving a master class in doing just enough. They are all good, Wilkinson, Maggie Smith and Bill Nighy particularly stand out.

I saw myself in Judi Dench’s character — though I am not as old, of course. But I am old enough to no longer hang on to the great illusion of youth, that it will never end. The way she blossoms in India, quite soon after losing her husband of 40 years, is incredibly inspiring — especially to me, who wants to continue having adventures in India when I am her age. All the young starlets in Hollywood put together can’t hold a candle to Judi Dench: I think she is one of the most beautiful women in film.

Bravo to the filmmakers for making a film about aging. I would give a lot to see a sequel — picking up exactly where this film leaves off.

NOTE: To find out about the locations in the film (Jaipur, Udaipur and other places in Rajasthan), read On location in India with The Best Exotic Marigold Hotel.

RATING: 3 marigolds (out of 5)

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The Best Exotic photos of Rajasthan

Mariellen — Thu, 03 May 2012 13:18:20 +0000

Lake Palace Hotel shimmering on Lake Pichola in the centre of Udaipur, Rajasthan (2009)

The Best Exotic Marigold Hotel

New film set in Rajasthan, India

In honour of the opening of the new film The Best Exotic Marigold Hotel — which is set in Rajasthan and was filmed on location in Udaipur, Jaipur and several other glorious Rajasthani locations — here’s a photo essay of some of my fave pics of Rajasthan. I have probably taken 2,000 photos of ”the Land of Kings;” these are just a few. To read about the actual locations used in the filming, click here: On location in India with The Best Exotic Marigold Hotel.

Palace Garden, Jaipur, Rajasthan (2010)

I’ve been to Rajasthan about four-five times, and I am always ready to go back. It is the India you’ve dreamt about: historical and colourful, full of fantastical palaces and storybook scenes of peacocks flying low over the desert, camel caravans and graceful women in neon-bright saris.

Roopangarh Fort, Rajasthan (2010)

Some of my favourite places in Rajasthan include Jaisalmer, Udapiur, Pushkar, Roopangarh, Jodhpur and of course the desert. The Thar Desert, also known as the Great Indian Desert, is one of the world’s largest. Most of Rajasthan — India’s largest, and most touristed state — is desert.

Just one of many painted rooms in Bundi Palace, Rajasthan

There is so much achingly evocative beauty in Rajasthan, including of course the art and architecture — and they very often go together. Havelis are intricately carved out of stone, walls and ceilings are covered in detailed paintings. The whole state is a living work of art!

This guest house is called Kipling Palace because he stayed here once, in Bundi, Rajasthan

And like all desert people, no doubt, Rajasthanis love water. There are many beautiful fountains and “monsoon gardens” in Rajasthan. This picturesque lake is just outside the small town of Bundi, a gothic-meets-Mughal treasure trove of art and architecture.

City Palace, Udaipur, Rajasthan

Udaipur must be one of the world’s most romantic cities. Palaces and havelis line Lake Pichola — whose serene surface belies the crocodile living within — and in the centre sits a confection, a former maharajah’s palace, now a luxury hotel. Lake Palace Hotel is one of the most photographed hotels in the world. Obviously (see top picture).

City Palace, Jaipur, Rajasthan

Jaipur is the capital of Rajasthan. Known as the Pink City because of the colour of the walls and buildings in the old city, it is a large, bustling and prosperous place, with lots to see and do, like the City Palace, Amber Fort, Jantar Mantar observatory and the bazaars and markets. But I prefer the smaller towns and rural Rajasthan.

Bada Bagh, Royal Cenotaphs outside of Jaisalmer, Rajasthan

Jaisalmer, on the far outskirts of Rajasthan, deep in the heart of the desert, is my favourite place in Rajasthan. Here is an 11th century fort, continuously inhabited, on a hill top in the centre of the small golden town; and here you can take a camel safari out onto the dunes and see the stars like you’ve never seen them.

Camel driver Lal Singh at a small resort among the sand dunes, Jaisalmer, Rajasthan

Amber Fort, which sits atop a hill overlooking Jaipur is filled with murals, frescoes, stained glass, painted walls — it’s dazzling. Below is one small window that caught my attention — a scene from the life of Krishna.

Krishna stained glass, Amber Fort, Jaipur, Rajasthan

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Deepa Mehta directs Midnight’s Children

Mariellen — Wed, 30 Nov 2011 12:53:07 +0000

Deepa Mehta at the University of Toronto, photo by Katie Billo

Deepa Mehta talks about making the film version of Midnight’s Children

There was a moment during acclaimed Indo-Canadian director Deepa Mehta’s talk recently at the University of Toronto — about the making of her new film Midnight’s Children — when I felt the jolt of inspiration. It came near the end. Someone asked if “it’s easier to break into film today, or when you got started.” Deepa replied very thoughtfully in a deeply felt, lyrical voice: “I think it’s really difficult making films. The challenge has not diminished or increased. Whenever you want to write a book, whenever you want to make a film, whenever you want to make a painting — whenever you do something that isn’t about going to an office, whenever your future is not secured by a paycheque, it’s a risky thing. Whenever you take a risk it’s going to be tough.”

Pause. “But the payoffs are enormous. You get to experience your work many times over. Making films teaches me a lot about myself, my neighbours, my country the world. It’s tough, but it’s fulfilling.” Her courage as a creative person really shone, like a beacon, for the other creative people in the room (myself included), who are trying to do something.

Deepa Mehta (who directed the trilogy Fire, Earth, and Water) was speaking to a packed house of film students and admirers at Innis College Town Hall, University of Toronto, during the editing phase of making Midnight’s Children. She generously answered questions and showed about 11 minutes of Midnight’s Children to us. We were only the second audience to see scenes from the film, based on the Booker Prize-winning novel by author Salman Rushdie. The film, shot in Sri Lanka, looks lush, emotional, character-driven. I was taken by Satya Bhabha, the charismatic actor who plays Saleem as a young man, and I’m looking forward to seeing it when it opens next year.

Scene from the film Water, directed by Deepa Mehta and shot in Sri Lanka

The agony and the ecstasy of creativity

It was interesting to watch Deepa Mehta warm up to the audience during the Q&A, and as she did, the goodwill flowed freely in both directions. She was forthcoming, honest and direct, and though her answers were characterized by brevity, they also showed quick intelligence and considered thoughtfulness. The evening was moderated by Professor Charlie Keil, Director of Innis College’s Cinema Studies Institute.

The evening began with Charlie Keil asking her about the making of the film — and about how the project started when Deepa suggested it to author Salman Rushdie, and he said, “done.”

Director Deepa Mehta and Professor Charlie Kiel

“It was pretty scary,” she said, “because I have the responsibility of turning the Booker of Bookers into a film. But the reason I said yes is because I love the novel. The scope of it is completely cinematic, it’s also Salman’s love letter to India, which is the country of my birth. I understand it, I feel it.”

Deepa insisted that Salman write the screenplay, though it originally came in at three times the length of a typical film script, and talked about the scope of the film, which covers 60 years of Indian history, and the project — by far the biggest she had ever made.

“Two months before shooting, I joined the JCC [fitness centre]. It is like a marathon, you have to prepare physically. It is so important to be in good shape.” About being mentally prepared to shoot she said, “I feel I have to be opened to the unexpected moments, because that’s when the magic in films happen.”

The shoot was arduous — 69 days long, the average temperature was 42 C. and there were 64 locations — but it seemed to be a good experience. “Every day was a small miracle. I never felt so alive. Every day I would wake up and say, thank you JCC!”

On India, audiences and exploration

On her relationship to India she said, “I say very often that the great thing about being a Canadian is that I can be where and who I am, which is an Indian. I was brought up in India, I went to school there, there’s a very strong relationship there. My family is still in India, I love India, it’s home. Just the way Canada is home. We can access two very distinct cultures, the culture that we came from and the culture that we’re part of. It’s cool being Canadian.”

After Professor Keil interviewed Deepa, he opened the floor to questions. I asked whether she makes films with an audience in mind, especially given that her films appeal to both western, Indian and diaspora audiences. “I try not to think too much about who my audience is, though sometimes I do,” she said. “I really just hope they’re intelligent. It isn’t about culture, it isn’t about colour.”

Deepa Mehta. Photo by Kate Billo.

I found her attitude towards film making inspirational. When she was asked about her choice of subjects, and whether she creates films that make political statements, she said: “What attracts me generally to films is … they’re always about a subject I want to know more about. Or a subject that intrigues me. For me, making films is about exploration. Everything is about growth. Films take two to three years. If I’m going to spend that kind of time, and energy, I better do it about something that I’m not only passionate about, but something that I’m learning about in the process. It’s not about ‘let me do this subject because it’s a political victory or it’s going to get my effigy burnt.’ When you make a film, you want people to see it. You don’t think, ‘I’m going to make it controversial.’ It’s not about that, it’s about personal fulfillment.”

I asked her both the first and last questions of the evening, as it turned out. My last question was, what did you learn from making Midnight’s Children. And her answer was both surprising and, ultimately, very profound: “I learned the importance of the gym!” Deepa said, to laughter and applause. “What I learned, in a strange way, was the importance of being fit, being alert and … always be passionate.”

I left the talk feeling very inspired. When someone asked her about the theme of the film she said, “You can be like the phoenix and rise out of the ashes. Change is the only constant.” And about the message she said, “there’s always hope. It’s about how important hope is.” Plus, I liked that afterwards, she told me I ask good questions.

For more on Deepa Mehta and Midnight’s Children, read the interview on the U of T news site.

Midnight’s Children a must-read

Midnight’s Children is a must-read. It not only won the Booker Prize, it won the Booker of the Bookers — the best book ever to win the Booker Prize in the award’s 25 year history. As Deepa Mehta mentioned several times during the talk, it is a book of epic scope, covering 60 years of Indian history including the deeply traumatic partition and the birth of modern India. It is also deeply humorous, marvelously inventive and completely unique.

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Two stars shine in Michael

Mariellen — Sat, 17 Sep 2011 02:52:08 +0000

Naseeruddin Shah in Michael

Naseeruddin Shah and Kolkata:

The stars of Michael are real, gritty, and riveting

Michael is a new “Hindie” film from India with a powerhouse duo behind it: producer Anurag Kashyap and star Naseeruddin Shah. Directed by first-timer Rubhir Dasgupta, the film follows Shah’s eponymous character on a dark psychological journey through the streets of north Kolkata (Calcutta). Michael is demonized by an action from his past — accidentally shooting a 12-year-old boy while on duty as a police officer — and it’s ramifications on his present. His own son is about to turn 12; and he is terrified that the father of the dead boy is planning to kill his son for revenge.

Rubhir Dasgupta and Guneet Monga on stage at TIFF

The film is a study in karma, and while the storyline is interesting, the naturalistic talent of actor Naseeruddin Shah and the tarnished beauty of Kolkata are the real stars. As he explained after the film’s premiere at the Toronto International Film Festival (TIFF), both actor and location were very deliberately chosen by writer/director Rubhir Dasgupta.

Dasgupta was at the film, along with one of the other producers of the film, Guneet Monga. These filmmakers are part of the “new age” of Indian cinema. Kashyap wrote and directed That Girl in Yellow Boots, Gulaal and Dev.D, among other films; and wrote the Deepa Mehta film Water (one of my all-time favourite films). Monga was an associate producer on That Girl in Yellow Boots and a co-producer of Trishna.

The movies they make are very different than stereotypical “Bollywood” fare. They do not feature song-and-dance numbers, melodramatic love stories, big-budget productions or mega-stars. Instead, they evoke a sense of naturalism and tell dramatic, personal stories that reveal both psychological truth and modern-day India.

Father and Son

Dasgupta told the TIFF audience that the inspiration for the story of Michael came from the Cat Stevens song Father and Son; and the possessive quality some fathers have towards their sons. Father and Son is one of my favourite Cat Stevens songs, and I listen to it often, always feeling moved by these lyrics:

How can I try to explain, when I do he turns away again.
It’s always been the same, same old story.
From the moment I could talk I was ordered to listen.
Now there’s a way and I know that I have to go away.
I know I have to go.

In fact, this was one of the songs I listened to endlessly when I was preparing to go to India the first time, back in 2005, when I was grieving my own father’s death. Here’s Rubhir Dasgupta’s answer to my question about what western audiences will get from the film.

Naseeruddin the great

To make this film, Rubhir Dasgupta approached Naseeruddin Shah with the script — knowing he had no one else in mind to play the role of Michael. Shah is one of the most talented and highly respected actors in India, probably the greatest living character actor, and it was a gamble, but a gamble that paid off. Shah said yes, Dasgupta overcame his nervousness, and, of course, the actor is phenomenal in the film. He completely embodies the character Michael as he loses his eyesight and his grip on reality.

City of dreadful night

The other star of the film, Kolkata, was actually more of a diva to work with than Shah, according to Dasgupta. In the video below, he talks about the challenges of using India’s fourth largest city as a location — some of which came from people on the street, who felt they could help direct the film; and some because he was working with such a big star.

Kolkata is much more than a location; it is a character in the film. The cinematography by Somak Mukherjee — who tragically died in a bike accident in April 2011 — lovingly paints the city in saturated jewel tones and ghostly colour washes. It’s a travelogue of the decaying splendour of a city with a glorious past and a sordid present. There’s a scene near the end when Michael shoots a gun into a dark alley during the heavy monsoon rain that’s a triumph of cinematography.

You don’t have to know Kolkata to understand and enjoy Michael. Nevertheless, while watching the film, I was glad that I’ve been there; that I’ve experienced the sights and smells, seen the Ochterlony Monument and the Victoria Memorial, browsed in bookshops, watched rickshaw pullers toil along the crowded streets and felt the pulse of one of the world’s most notorious cities. Here’s some pics from my travels.

Kolkata street scene

Hoogly River and Howrah Bridge

Victoria Memorial, Kolkata

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Trishna puts Tess in Rajasthan

Mariellen — Wed, 14 Sep 2011 12:48:24 +0000

Freida Pinto as Trishna

Trishna unfolds with exquisite inevitability

Film captures the dark side of the changes taking place in India

His voice was filled with exasperation, and the churned-up emotion of watching tragedy unfold before him, onscreen. “Didn’t she realize she had the upper hand,” he asked. “He kept coming back to her. Why didn’t she take control of the relationship?”

He was a white Canadian, a “gora,” who had — like me — just sat through the premiere of Trishna at the Toronto International Film Festival. The film, based on Thomas Hardy’s Tess of the D’Urbervilles and set in modern-day India, was directed by Michael Winterbottom (Jude). It stars Freida Pinto (Slumdog Milionaire) and Riz Ahmed as the doomed lovers swept up in the tumult of a changing society. The decision to set the story in modern India was brilliant, and gave the film multi-layered depth, the sheen of reality and the depth of pathos.

Director Michael Winterbottom and Freida Pinto

As Winterbottom explained during the introduction to the film, India is experiencing the kind of seismic societal changes that England saw at the height of the industrial revolution, when Tess was written. And those changes are what drive the story. Trishna is a simple girl from a traditional Rajasthan family who, because of her beauty, attracts the attention of a wealthy young, Indo-British man — in India to help his father run his luxury hotel business.

She has never been out of her village; he doesn’t speak Hindi. But they meet and a relationship seems almost plausible, however unlikely, given their wildly different backgrounds and social classes. And for awhile, when they are in modern-age Bombay, it almost works. But when they return to much-more traditional Rajasthan, and their stations as owner-servant, the relationship descends into darkness, dysfunction, torture. And then the movie grinds inevitably toward tragedy. In truth, I wanted to run out of the theatre when I saw the searing psychological truth the film was willing to portray. It’s hard to watch, hard to look away.

And hard to accept. Hence the exasperation in the man’s voice during the question-and-answer session afterwards.

The raw truth, magnified

Freida Pinto at TIFF premiere

If Trishna was able to suddenly become a modern, “empowered” woman and take control of the situation and the relationship, there would be no story. The man’s question revealed both his lack of knowledge and understanding about the role of women in a traditional society, like rural Rajasthan; and a disregard for the pathos of tragedy, and the psychological truths and manifestations of character that drive the story, along with the circumstances.

Yet his question seemed particularly pertinent to me; it became another layer of the film; another spoke in the wheel of change. His question reminded me that I feel part of this story too — that I am a modern, western woman who travels in India; who has spent time in Rajasthan and Bombay; who has had relationships in India; and who has experienced the changing Indian society depicted in the film, though to a lesser degree — and thankfully to a much less tragic end!

In other words, the film rings true, despite its tragic and melodramatic story arc. And the excellence of the production adds to that truth — especially Freida Pinto’s acting. She is luminous. Her vulnerability is raw, and rare, and very moving.

I will feel differently next time I am in India, and especially in Rajasthan. I will see women differently. That is what this film has accomplished. It has magnified reality to bring it into focus.

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Breakaway premier at TIFF

Mariellen — Mon, 12 Sep 2011 02:18:00 +0000

Elephant at Breakaway premier

At the Breakaway premier

Indo-Canadian film breaks barriers, but fails to build bridges

Breakaway is a new Canadian film about a young Sikh Canadian man (Vinay Virmani) who is a mad about hockey — against the wishes of his traditional, turban-wearing father (Anupam Kher). It’s set in suburban Toronto and features Russell Peters, Rob Lowe and a cameo by Akshay Kumar. The film explores the meeting of Sikh/Punjabi/Indian and Canadian culture, and attempts to reconcile them against the backdrop of Canada’s national sport (and pseudo-religion) — hockey.

On Saturday, September 10, the film premiered at the Toronto International Film Festival (TIFF) with a raucous Punjabi-themed parade on Yonge Street that included bhangra music and dance, a painted elephant, Miss India-Canada, the cast and crew in colourful autorickshaws and Bollywood star Akshay Kumar on a white horse. The waiting crowd loved it and camera lights were flashing. It was a great start to a fun, feel-good movie. However, the film didn’t quite live up to its promise.

At the premier

Inside the theatre, before the start of the film, producer Ajay Virmani — father of writer / star Vinay — introduced a series of grey-suited producers before calling on the big guns: Anupam Kher, Russell Peters, Rob Lowe and, finally, Akshay Kumar looking resplendent in a white sherwani and adding a serious dash of glamour to the occasion. In fact, Akki is far more handsome and elegant in real life than in pictures and I was impressed! Scroll down for a picture.

Anupam Kher, Russell Peters, Vinay Virmani and Rob Lowe

The premier was basically a love-in for the cast, crew and supporters of Breakaway. The long introduction was a lot to make the audience wait through — though, to be fair several of the speeches were touching or warm (i.e. Vinay, Anupam and Akshay) and Russell was predictably funny.

Breakaway is a family affair, made by a father-and-son team, and intended to launch Vinay Virmani’s career. Ajay threw everything he’s got behind it, including his connections with stars like Akshay and Russell. Thank goodness Vinay’s got talent. It’s easy to like him, and want him to succeed — on and off-screen; on the ice and off. He’s the heart of the film, and his warmth, passion and sweetness shine through an otherwise mediocre film with a somewhat awkward, predictable script and sometimes amateurish production values. Even Russell Peters falls flat and Akshay Kumar is wasted. Surprisingly, Rob Lowe is the only other standout as the reluctant coach who takes on the unlikely Speedy Singhs hockey team and helps make them into winners. His character seemed real to me, and I would have liked to know more about him.

Anupam Kher is one of my favourite Indian actors and though he doesn’t get the chance to exercise his considerable talents in Breakaway, he is always solid. I had the wonderful opportunity of interviewing him for about 30 minutes, and we had a great, in-depth conversation — about the importance of failing, the power of optimism and the unique opportunity we each have of being ourselves in this world. I will be posting a blog about the interview soon. He’s a very wise, thoughtful and caring person, who is willing to share of himself, so it will be a good read.

The three women in the film — Neera (Noureen DeWulf), the mother (Sakina Jaffrey) and the love interest Melissa (Camilla Belle) — are given somewhat predictable roles, but all three bring humour, warmth and character to the film.

Ajay Virmani, Noureen DeWulf, Sakina Jaffrey, Gurpreet Guggi Singh and Anupam Kher

Great expectations

I was eagerly anticipating Breakaway, and I brought a lot of goodwill to the screening, but in the end I was somewhat disappointed. Perhaps my expectations for this film were too high. As a Canadian-born-and-bred woman who is also part of a Punjabi family in India, and often has to straddle the cultural divide, I was eagerly anticipating a film about the clash of Canadian-Indian culture, and I was hoping for more insight and subtlety. I was hoping it would break new ground. I wanted Gandhi and instead got The Mighty Ducks. The filmmakers decided to use broad strokes and camp humour to make a feel-good film that celebrates difference and encourages “minorities” to feel pride in who they are. Sikhs, Punjabis, Indians and perhaps other “visible ethnic minorities” in Canada will probably love the film, and for good reason.

The Speedy Singhs

However, I’m not sure white, mainstream Canada will like it. The white guys on the Hammerheads hockey team seem like cartoonish thugs to me — they are very one-dimensional. Perhaps there are people who are that openly racist, but I was hoping this film would not only cross the cultural divide, but bridge it. I’m not sure it succeeds at that level — which is too bad.

Vinay’s character wins the respect of his new cousin-in-law, the (white) girl, the championship, his father’s approval and the esteem of his community. But there is no arc in the storyline in the other direction; there is no resolution, reconciliation or redemption on the part of the racist, white hockey players. The communities don’t really come together, except when we see his love interest dressed up in Indian clothes for his cousin’s wedding. Though I think Breakaway is a step in the right direction, it seems like a lost opportunity to me.

Next time, perhaps, Vinay?

Akshay Kumar on stage at the TIFF premier of Breakaway

Bhangra musicians and dancers getting ready for the Breakaway premier parade

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Bollywood in Toronto: Fave moment #2 – the fans

Mariellen — Thu, 30 Jun 2011 18:48:32 +0000

Bollywood actor Sonu Sood and fans in the lobby of the Fairmont Royal York Hotel during the IIFA Awards. Photo courtesy Andrew Adams of Katha Images.

Bollywood in Toronto

My top five favourite moments

This is the second in a series of blog posts about my favourite moments of the International Indian Film Academy (IIFA) Awards weekend in Toronto, June 2011. I had the good fortune to be the “embedded” blogger at the Fairmont Royal York Hotel, the IIFA’s host hotel, during the Bollywood invasion, so I was right at the centre of the action. Number 1 moment: Meeting Shahrukh Khan. Number 3 moment: The stars.

Fave moment #2: Fan frenzy

Staying at the Fairmont Royal York Hotel, the host hotel for the International Indian Film Academy (IIFA) Awards in Toronto, gave me a unique and close-up look at both the behind-the-scenes action and the fans. I have lived in India, so I was not at all surprised by the fan frenzy: Indian movie stars have the biggest and most loyal fan followings in the world. Hands down. No comparison.

Fans waiting outside the Fairmont Royal York Hotel during the IIFA Awards. Photo courtesy Andrew Adams of Katha Images.

It became routine for me, over the five days I stayed at the hotel, to see fans milling about the lobby, assembling behind roped barricades at the carport entrance and sending up frenzied and excitement-filled screams every time a star entered or exited the hotel. At first, I would run down the hall to see who it was, and I was lucky to interview Arshad Warsi, to photograph Sonu Sood and Zayed Khan, and others, but after awhile I grew tired. But the fans never did. They were always there.

On the night of the IIFA Awards show, as the stars were leaving the hotel, hundreds of hard-core fans lined up behind metal barricades that spilled onto Front St. Police and security patrolled the area and the fans screamed at the top of their lungs every time a star emerged, which was very often. It was almost unnerving! But I admire their dedication, and I appreciate that they were excited to see icons of India, their country of birth, here in Canada, their new country of residence. They are very lucky that Indian culture does seem to be spreading around the globe, along with the Indian diaspora — and it is even being embraced by non-Indians, like myself.

The angels who follow Shahrukh

Shahrukh Khan's fans waiting in the hotel lobby to get a t-shirt autographed by their favourite star.

I talked to lots of the fans over the five days I was at the Fairmont Royal York Hotel – young girls, older couples, mothers with their teenage children. They came from the suburbs of Toronto, from Vancouver, from the USA. But perhaps the most dedicated, most fervent and also some of the sweetest fans I met were the Mission SRK / Shahrukh Khan Angels. They are part of a worldwide organization of people who live for sightings of the world’s number 1 movie star.

The morning that SRK was scheduled to arrive in Toronto, they were at the hotel before dawn, staking out their position at the front of the barricades, where I interviewed three of them (see video below). As I also wanted to be in position when he arrived, I became part of their phone-based alert system. Members of the organization were staked out at the airport, and messaging the hotel contingent about the star’s every move. I knew when Shahrukh’s plane landed because they sent me a text message; and I texted them when I found out the location of his entrance to the hotel was moved to the main lobby.

I don’t have the same feeling of fan dedication they do (I’m a LOT older!), but I admire their passion. And it was fun to get to know them and wait with them as the tension mounted — and then erupted into complete pandemonium when he arrived.

NOTE: Lead photo of Sonu Sood and fans courtesy photographer Andrew Adams of Katha Images.

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Bollywood in Toronto: Fave moment #1 – Shahrukh Khan

Mariellen — Wed, 29 Jun 2011 02:43:44 +0000

Shahrukh Khan arrives at the Fairmont Royal York Hotel for the 2011 IIFA Awards

Bollywood in Toronto

My top five favourite moments

This is the first in a series of blog posts about my favourite moments of the International Indian Film Academy (IIFA) Awards weekend in Toronto, June 2011. I had the good fortune to be the “embedded” blogger at the Fairmont Royal York Hotel, the IIFA’s host hotel, during the Bollywood invasion, so I was right at the centre of the action. Number 2 moment: Fan frenzy. Number 3 moment: The stars.

Fave moment #1: Meeting King Khan

Some of my readers will have no doubt, others will be totally surprised to learn: Shahrukh Khan (often known as SRK or King Khan) is the world’s number 1 movie star. By far. Any number or metric you want to use to measure — loyalty, fan base, power, influence, sheer hysteria — will show SRK way out in front. He is NOT the Tom Cruise or Brad Pitt of India. We do not have stars in the west the way they do in India. There are probably 1 billion people — that’s about one-quarter of the planet — who would give Shahrukh their kidney, if he needed it.

Shahrukh Khan at a press conference during the IIFA Awards

Shahrukh attended the International Indian Film Academy (IIFA) Awards in Toronto in June 2011, and took the city by storm. He worked non-stop from the moment he landed (on a private plane from Mumbai), attending press conferences, a special Toronto City Hall reception, the IIFA Rocks show, parties and of course the IIFA Awards show — where he helped MC, won the best actor award, and closed the show with a spectacular dance number. Frenzied crowds and a media scrum ensued wherever he went — and I can tell you because I was up close, he handled it all with an astonishing amount of grace under pressure. He was calm, cool, collected and courteous — even when surrounded by screaming fans; even when a man from the audience pounced on his feet and wouldn’t let go during the IIFA Awards show. He took time out to let people ask him questions, and answered with thoughtfulness and intelligence. He doesn’t suffer fools gladly, but if you show him you are serious, he will respond accordingly.

I am generally not star struck, in fact celebrity culture turns me off: I am fully aware that fame is about 2% reality and 98% illusion and imagination. Shahrukh is charismatic and talented, and I love some of his movies, but my admiration for him stems largely from knowing how hard he works, and that he came from nothing, and achieved success purely on sheer talent and determination. He takes his “job” as SRK very seriously indeed, and manages his persona with great care. I also admire the fact that he makes heartfelt movies — my favourite, Paheli, is positively spiritual. And, let’s face it, some people seem to absorb the limelight. I recently wrote about my feelings for SRK in my post, Shahrukh Khan and me. I wrote that I hoped to meet him in Toronto, after many near misses in India.

I got my wish. My fave moments of the Bollywood invasion are the three I had with SRK.

3. The night before SRK landed, I didn’t sleep well, and I occupied some of the time coming up with two questions I genuinely wanted to ask him. When he arrived at the Fairmont Royal York Hotel, the media and fans waiting in the lobby went wild. Somehow, I managed to get right up to him with my digital recorder and ask, “What do you think of the ascendancy of India culture globally?” He said, “I think we have a very strong, warm, colourful culture and if we’re able to take it all over the world, it just make people understand what India’s relations are.”

2. Later that morning, there was a press conference with Shahrukh for an Indian-themed amusement park near Delhi (think, the Pirates of the Caribbean ride at Disneyworld crossed with an over-the-top Bollywood dance number and you’ll get the idea. It looks totally bogus to me, but if you can’t deal with the heat and dust of India, you’ll probably like the park’s hygienic conditions). After all the boring spiel was over, SRK opened the floor to questions. I was right near the front and got to ask my question number two: “You have an unparalleled platform, one of the biggest in the world. What’s your message? How are you using your platform for good?” To summarize his answer, he first showed modesty by saying that he didn’t make his films alone, and that he’s been very lucky; but then he said that through his films he tries to offer people two very important things: hope and humour. It was a great answer, and I tend to agree — some of his movies are very uplifting, such as Chak De India!, which is about an all-girl field hockey team. SRK plays the coach who believes in them. It’s a great girl power movie!

1. After the IIFA Awards show, I went back to my room at the Fairmont Royal York to freshen up, before heading downstairs to the after-party. I walked out of my room into an otherwise completely empty hallway and bumped smack into Priyanka Chopra, one of the biggest stars in India. I could see only her, and not the three men she was with, because she is so stunning, and she was wearing a sparkly sari. But then one of the men turned to me and said, in a suave and sexy voice, “You look lovely in that dress.” (I was wearing an Indian “suit,” covered in rhinestones and glitter.) That’s when I noticed it was Shahrukh Khan.

That was my moment. It was magical because it was unexpected, unscripted, unforced. I had set my intention to meet him, and worked hard in the media scrum … but “my moment” didn’t take any work at all. I felt this was a confirmation of some spiritual truths: the universe listens to intentions; our destiny is rushing to meet us; and faith is more important, and far more powerful, than ego-based will power. In other words, let the magic happen….

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Shahrukh Khan and me

Mariellen — Sun, 19 Jun 2011 13:18:57 +0000

Paheli with Shahrukh Khan and Rani Mukherji

Trying to meet Shahrukh Khan at IIFA

King Khan comes to Toronto

My second night in India ever, back in December 2005, I was struggling with jet lag and trying to sleep, and a big party two doors away from where I was staying in South Delhi was underway and keeping me awake. It was quite an introduction to India: loud music, fireworks, frenetic party sounds, well into the wee hours. I was so excited to finally be in India, following my dreams, and at the start of my six-month “trip of a lifetime,” that I didn’t really care, I took it in stride, but I was very interested to learn from the newspaper the next day that the party was at a Bollywood star’s home, and I will never forget the headline: King Khan in Delhi.

As a writer and trained journalist I was intrigued by the term “King Khan.” Who could he be? I quickly found out that actor Shahrukh Khan (SRK), who hails from Delhi, was one of the biggest stars in Bollywood. I began seeing his picture everywhere, and his charismatic smile was soon beguiling me. But it wasn’t until I saw Paheli, the film he made as a labour of love, with co-star Rani Mukherji and entertaining cameo by Amitabh Bachchan, that I fell for him.

Shahrukh Khan and Amitabh Bachchan in Paheli

I loved Paheli, a wonderfully whimsical story about a woman (Rani) in fairytale Rajasthan who marries a rich, money-obsessed man (Shahrukh), only to find that he’s leaving on a two-year business trip the day after the wedding. However, on the journey to bring the bride back to the groom’s village, a “ghost” sees her and falls in love with her. He takes the form of a squirrel, and then a bird, and follows her to a step well.

Later, after the husband leaves, he takes the form of her husband and returns to be with her. She, of course, doesn’t know this man — who transformed into a loving husband is a ghost until he tells her. It’s too late, she’s in love with him.

The movie is filled with delightful moments, absolutely wonderful music and of course gorgeous sets and costumes as it’s set in magical Rajasthan. It is one of my all-time favourite films as it appeals to the child in me who loved the 1,001 Arabian Nights stories and painted huge murals of genies (djinns) and Rajasthan-like palaces all over my bedroom walls as a child. And who believed in magic.

Believing in magic, pursuing dreams

So that was that, and I too fell under Shahrukh’s spell. I felt anyone who could make this movie, and really believe in it the way he did — SRK tried very hard to get it accepted into the best Foreign Language film category for an Oscar at the Academy Awards — must be okay. I came to know that he was a self-made man, a Bollywood outsider who made it to the top on sheer talent and determination; a man devoted to his family; a Muslim who fell in love with a Hindu woman in his hometown, Delhi, and married her despite objection; and a contemporary of my partner’s who lived only two doors away from us when he was in Delhi.

Shahrukh Khan and Rani Mukherji in Paheli

I determined to meet him, if only to tell him that I loved Paheli, and that I felt it should have been accepted into competition and won the Oscar that year. As a society outsider and dreamer myself, I related to his story, and the story in the film. The film seemed to capture my story, of traveling to India, the land of my dreams, to recover from loss (the loss of my parents, and the breakup with my fiance); of finding my muse (India) and finally becoming the writer I always wanted to be; of falling in love with an Indian man, and with India herself; of being redeemed by believing in magic — the power of transformation — and pursuing dreams.

Will I, or won’t I?

In the years since, I have, of course, spent a lot of time in India, and a lot of time in South Delhi, but I have never met SRK. Oh, I have come close a number of times — I heard he was at the neighbourhood club with his kids, taking them swimming, the day before I arrived back in Delhi from one of my journeys. Or I heard from an acquaintance that he had seen him at a dinner a week before, etc., etc.

Moi at the Taj Mahal, 2006

In the meantime, my love affair with India has continued. I have continued to travel in India and write about India and Indian culture; to live with my family in Delhi, where I immerse myself in Indian family life; and continued to try and reconcile these two worlds, and achieve my dreams of becoming a full-time writer — a writer who writes about the beauty of India, the possibility of achieving your dreams and the power of yoga and India’s ancient wisdom traditions to transform.

Before knowing SRK was coming, I arranged to cover the International Indian Film Academy (IIFA) awards as the in-house blogger for the Fairmont Royal York Hotel — the host hotel in my hometown, Toronto. And I have learned, now, that he is coming and I am wondering … will I finally get to meet him? Will I finally get to tell him how much that film means to me? Will my worlds, Toronto and Delhi, finally come together in a moment that bridges the distance between fantasy and reality?

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Bollywood primer: Top 4 things you need to know

Mariellen — Sun, 12 Jun 2011 01:33:30 +0000

Jodhaa Akbar with Aishwarya Rai and Hrithik Roshan swept the 2009 IIFA Awards

Bollywood 101

The top 4 things you need to know as Bollywood invades Toronto

My hometown is about to be invaded by Bollywood. The International Indian Film Academy (IIFA) awards are rolling into Toronto June 23-25, 2011. It’s the first time the IIFA awards are in North America, and it’s a pretty exciting event for Bollywood fans and many of the 700,000 Indo-Canadians in this city. Some of India’s biggest stars are coming including Shahrukh “King Khan” Khan, Priyanka Chopra, Saif Ali Khan and Dharmendra. This year, 2011, is also The Year of India in Canada — so there’s lots of South Asian celebrations happening in the city, and across the country.

I’ll be blogging from ground zero, the Fairmont Royal York Hotel, the host hotel for the IIFA festivities, so check in for lots of news, photos, interviews and stories.

For those of you who are not Bollywood fans, here’s a primer on what you need to know, and below, How to catch the Bollywood buzz, information about where to go, what to see and what’s free.

1. It’s Hindi cinema, stupid

3 Idiots won big at the 2010 IIFA Awards

The first thing you need to know is that Bollywood is a slang term, derived from a combination of Hollywood and Bombay, used to describe Hindi cinema. Bombay is now known as Mumbai, and it’s the home of Bollywood. There are some, like India’s most legendary living actor, Amitabh Bachchan, who take exception to the word Bollywood. They feel it degrades Hindi cinema and paints all Hindi films with the same brush — a brush drenched in thick, gaudy colours of over-the-top melodrama, corny dialogue, cheesy acting and bombastic song-and-dance production numbers.

These critics have a point. India makes some very fine films that do not fit the “Bollywood” stereotype. Aamir Khan, especially, has made a series of hit films that are intelligent, moving and thoughtful, such as Rang de Basanti, 3 Idiots, Taare Zameen Par, Peepli (Live) and Dhobi Ghat. Aamir Khan is notably absent from the IIFA circus this year.

And Bollywood is not the only game in town. Though Bollywood makes about 800-900 films a year — twice as many as Hollywood — it is just one of several film centres in India, and Hindi is just one of about 22 official languages. There are several other film centres in India based on other languages, such as Kollywood in Chennai (formerly Madras) — home to a thriving Tamil language film industry.

2. Where stars are demi-gods

The second thing you need to know is that Hindi cinema is not new, in fact they’ve been making films in India since about 1900 — you can read more about the history of Bollywood on the site Bollywood Tourism. It has a very long, rich, successful history in India, and stars of yesteryear — such as Raj Kapoor — are beloved by generations of people. In fact, we in North America can’t begin to grasp just how big Indian movie stars are, and how loyal — and huge — their fan bases are. Stars like Amitabh Bachchan and Shahrukh Khan are like demi-gods. When they sneeze, it makes front page news. There’s a scene in the hit film Slumdog Millionaire that gives you some idea of their importance and significance. (If you need reminding, the film’s young hero is sitting in a latrine when Amitabh Bachchan arrives by helicopter.)

Paheli with Shahrukh Khan and Rani Mukherji

3. All in the family

The third thing you need to know is that Bollywood is like a big, extended Indian family — replete with all the spats, feuds, in-fighting, jealousy and gossip. You’d need a program to keep track of them all. You’d need a program to keep track of all the related family members, too. The “royal” family of Bollywood is the Kapoors. Patriarch Prithviraj Kapoor was a pioneer in the industry, starting as an actor in silent films and later founding a cinema chain. His son, Raj Kapoor, is probably the most loved and legendary of all Indian movie stars — in fact, he is the subject of a retrospective at IIFA this year; and an installation at TIFF Lightbox that’s a collaboration with the Luminato Festival. There are many Kapoor off-spring and grand-offspring working today in Bollywood, including Kareena Kapoor, who is one-half of the “it” couple. The other half, Saif Ali Khan, is actually royalty — son of the Nawab (prince) of Pataudi and heir to the royal houses of both Pataudi and Bhopal.

Amitabh Bachchan, Abhishek Bachchan and Aishwarya Rai in Sarkar Raj

Other notable families include the Deols. Dad Dharmendra, who will be performing at the IIFA show at the Rogers Centre along with his sons Sonny and Bobby, is a legendary actor who has made 247 films but is best known for his role opposite Amitabh Bachchan in the highly acclaimed blockbuster Sholay. In the film, they played friends, very much like Butch Cassidy and the Sundance Kid. And the Bachchans: Amitabh, Jaya, Abhishek and Aishwarya Rai.

The many Khans in Bollywood, however, are not related (for the most part; there are exceptions). The four biggest are probably Shahrukh, Aamir, Salman and Saif Ali Khan. I call Aamir Khan the Sean Penn of India (and wrote about him in this blog Excellent Aamir Khan film picked up by Disney) and I am a big fan. I’m also a big Shahrukh fan: I fell for him after seeing the delightful film Paheli, about a woman (played by Rani Mukherji) who marries a ghost in fairytale Rajasthan.

By the way, nicknames — or house names — are very much an Indian tradition, and many stars are known by theirs. Amitabh Bachchan is called The Big B, Kareena Kapoor is known as Bebo; heavyweight Salman Khan is Sallu, beauty Priyanka Chopra is Piggy Chops etc.

Priyanka Chopra

4. The gender gap

The fourth thing you need to know is that men rule. The gender imbalance in Bollywood mirrors the gender imbalance in Hollywood. Most of the biggest names, biggest money-earners and most powerful people are men; and they get the juicier roles too. A very large number of leading actresses in Bollywood are known primarily for their beauty — there are a LOT of former models and beauty pageant winners among them. Many of them can’t act, of course, but it doesn’t matter as they are given such limited roles to play. Two of the leading Bollywood actresses are both former Miss Worlds: Aishwarya Rai-Bachchan and Priyanka Chopra.

However, there are some good actresses in India, of course, including Kajol, Preity Zinta (who was fantastic in Deepa Mehta’s film Heaven on Earth), Rani Mukherji, Shabana Azmi, Seema Biswas, Nandita Das, etc. And there are some top-notch female directors, too, such as Farah Khan (Om Shanti Om), Aparna Sen (Mr and Mrs Iyer), Mira Nair (Monsoon Wedding), Kiran Rao (Dhobi Ghat) and Toronto’s Deepa Mehta (Water).

I interviewed three of Bollywood’s leading ladies for Asian Woman magazine — Rani Mukherji, Priyanka Chopra and Seema Biswas. You can read the article, “Role Models,” here.

How to catch the Bollywood buzz

Bollywood Cinema Showcards at the Royal Ontario Museum

Tickets for the IIFA awards and shows at the Rogers Centre are long gone, but there’s still lots of ways you can “catch the buzz.” There are free movies downtown, at Dundas Square, and special events all across Toronto, from Mississauga to Markham. Filmi Cafe has a complete rundown on all of the IIFA events across Toronto here; and you can find out all about IIFA here, on their official site. Bollywood Chick has a good list of all the parties; and the other Bollywood Chick has lots of news. Toronto’s source for all things South Asian, MyBindi, has lots of news, event listings and contests, too.

The Royal Ontario Museum is hosting an exhibit, Bollywood Cinema Showcards, and TIFF Lightbox is hosting an installation celebrating Indian film legend Raj Kapoor, called My name is Raj.

If you want an in-depth introduction, read Bollywood 101 by Fimligirl.

So, there’s lots to see and do for everyone as Toronto becomes Bollywood North for the month of June!

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