A movie from the director of recent hits like Monsoon Wedding and Kama Sutra.
This movie honestly and provocatively explores the race and socioeconomic
divisions in the heart of the American South.
The following is a synopsis from Charles Less of
This year, Asians can look to Mississippi Masala, the latest project of Indian director Mira Nair (whose directorial debut Saloom Bombay was an Academy Award nominee in 1989 for Best Foreign Film). In this interracial romance between an Asian Indian woman and a black man in a small Southern town, the viewers are brought into the uncharted territory of an Asian American community and are faced with a rare, detailed look at the racial diversity this country offers.
The setting of Masala
Intertwined with the development of the love
story is an examination of the Indian community. Under Nairís direction, Asians
are actually real people, free of the elusive, mysterious quality so prevalent
in the stereotype. At Anilís wedding ceremony, for instance, against the
background of traditional rites and sitar music, beyond the bindi
marks and womenís saris, are the other realities of the community: friends
gossiping, little kids playing cops and robbers, faces whose expressions range
from anticipation to utter boredom. The details are small, but they add dimension
to a community whose principle exposure in American cinema has been as
intensely religious (the cult in Indiana Jones and the Temple of Doom)
and/or excessively fatalistic (the professor in A Passage to