| 1 | '''Mirch Masala''' |
| 2 | |
| 3 | |
| 4 | aka Spices |
| 5 | 1985 128’ col Hindi |
| 6 | d Ketan Mehta pc NFDC st Chunilal Madia |
| 7 | sc Hriday Lani, Tripurari Sharma lyr Babubhai |
| 8 | Ranpura c Jehangir Choudhury m Rajat |
| 9 | Dholakia |
| 10 | lp Naseeruddin Shah, Smita Patil, Om Puri, |
| 11 | Suresh Oberoi, Deepti Naval, Benjamin Gilani, |
| 12 | Raj Babbar, Mohan Gokhale, Supriya Pathak, |
| 13 | Dina Pathak, Ratna Pathak, Ram Gopal |
| 14 | |
| 15 | |
| 16 | Following its commercial release in New York |
| 17 | this became Mehta’s best-known film outside |
| 18 | India. Intended as an allegory of colonial |
| 19 | oppression but presented as a sex-and-violence |
| 20 | drama, the film is set in pre-Independence |
| 21 | Saurashtra. The despotic tax collector Subedar |
| 22 | (Shah), dressed in a way that evokes British |
| 23 | 19th C. catchpenny prints and Daumier’s |
| 24 | cartoons, imposes his rule on a village. All the |
| 25 | villagers try to satisfy his every whim, except |
| 26 | for the protesting schoolteacher (Gilani). The |
| 27 | drama starts when the beautiful Sonbai (Patil) |
| 28 | is to be surrendered to the lecherous Subedar. |
| 29 | She takes refuge in the courtyard of a spice |
| 30 | factory run entirely by women and is protected |
| 31 | by an aged watchman (Om Puri) who closes |
| 32 | the gates to Subedar’s men. Although made in |
| 33 | Hindi, the film draws on Gujarati verbal and |
| 34 | performative idioms. Mehta explicitly deployed |
| 35 | stock literary melodrama characters, but these |
| 36 | cliches from contemporary popular culture lack |
| 37 | the historical resonance achieved by the more |
| 38 | complex figures Mehta used in his |
| 39 | extraordinary Bhavni Bhavai (1980). |
| 40 | |
| 41 | [[Film]] |