Mirch

I absolutely adored this film. One I’ve seen after ages (actually cant think of any other) that truly celebrates a woman. Without glorifying the cotton saree, the gas chulha, tears in her eyes, or a proud husband supporting her, this one reminds us of all that a woman can be.

Arunodoy Singh is a struggling writer. In the absence of star power, he has no takers for his film as producers believe, that commercial success will evade him. They find his story too dark and devoid of any element that could pull crowds to part with their dimes. Many argue that the subject of Mirch is not new, A film within a film format has been toyed with many times before. True, but this is where Vinay Shukla’s Mirch draws an end to this similarity. It’s a simple film, with no exaggerated sets, high production value, big stars or unnecessary frills. The film holds its own purely on the merit of intelligence and clever handling of an audacious idea – SEX.

Giving into the clichéd demands of his producer, Arunodoy Singh weaves a story with four tales across two time frames. The first two, are derived from the ancient Panchatantra apparently, where Raima and Konkana Sen play the leading ladies while Arunodoy Singh plays the resident object of desire.

The first story is set in a time period where husbands had to travel far and wide in the search of jobs. Rajpal Yadav plays Raima Sen’s smitten husband. One day, pressured by rumours of his wives promiscuous nature, he decides to spy on his beloved. Raima’s quick presence of mind, upon realizing that it is indeed her husband, hiding under the bed, spins a yard so thick that Yadav is left feeling humiliated for ever doubting the holiness of his wife, as she performs the ultimate service ever asked of a married woman, all for the longevity of her husband whom she considers not below any god.

The second story is set in a Kingly time, where young brides were added to harems purely as jewels to crown. Konkana Sen plays the bride as young and full of life, however, the King’s octogenarianism can barely match pace with his bride’s sensuality or her coming of age. Her lady in waiting, disappointed that a blossoming woman should wither away like an en passant, suggests that Konkana, should consider the companionship of the kings young advisor, Arunodoy Singh. Singh reluctant at first, realizes his determination stood no match when opposed by the daasi’s invariable persuasion, finally agrees to peg his service to the queen but only upon the fulfillment of three wishes
a) The queen must slay His Majesty’s prized Persian right before his very eyes
b) There after she must present the advisor with the Kings tooth
c) and to avoid betrayal of his kingship the coitus act must be performed in the kings presence and not behind his back.
Another tale of how the queen in her sparkle fulfilled the conditions, still emerging as a child.

The next two stories are a page from life in a metro. Raima & Shreyas Talpade are newlyweds. She’s madly in love with him and simply cant get enough, a reversal of roles definitely never shown of a woman before. Her high libido gets Shreyas a bit weary and he starts doubting that an attractive woman like her, may desire more partners than one. She stands victorious in the test of time but her soul is scarred upon realizing that her loyalty and affection was misjudged. A year passes by and we see the void enlarging in Raima’s emptiness. Till, she meets a painter. Circumstances rebirth the woman inside and she breathes again, unfortunately this time to be caught in bed by her husband. One would think what follows would be an ugly affair of lies, anger, deceit or tears but what leaves you is a smile.

Many argue that strong sexual gestures especially in a woman make for very un-poetic cinema. Love when linked to lust tends to lose its lyrical luster. I disagree, I think it’s about time that a woman’s enigma is celebrated. Mirch is not about glorifying Infidelity but appreciating the unpredictable wit and satirical ways of a woman.

The last story is about a business man, looking to escape a nondescript routine, lies to his wife about being out of town, checks into a motel and awaits the arrival of his Harlot. To his shock when he unveils his guest, she turns out to be his wife. Try getting out of a situation like that. Again, never to be faulted, the woman, turns advantageous.

This film thus celebrates Striya Charitra – A Woman’s mystical character, often not easy to understand. She is a being soft at heart but if required can be ruthless.
After seeing the destiny of two films that have come of critical acclaim, Yeh Saali Zindagi and Mirch, I conclude Arunodoy Singh and his titillating act is what makes it all worth it :)