You will be redirected back to your article in seconds

The Memsahib

Destiny, karma and possible reincarnation unite a maharaja and an English commoner across centuries in tyro writer-helmer Kruti Majmudar's lavish, albeit corny, romance, "The Memsahib." Location shooting in western India's pretty Gujarat state provides enough eye candy to boost pic's chances beyond fests.

With: Emily Hamilton, Parvin Dabas, Gleen Fitzgerald, Sweta Keswani, Murli Sharma, Denzil Smith, Nitika Anand, Sujata Kumar. (English, Gujarati dialogue)

Destiny, karma and possible reincarnation unite a maharaja and an English commoner across centuries in tyro writer-helmer Kruti Majmudar’s lavish, albeit corny, romance, “The Memsahib.” Pic reps a notable if highly erratic step for non-resident Indian cinema (Indian-born Majmudar is based in Pittsburgh), though tale of a tragic Brit commoner married to a raja is viewed almost exclusively through Blighty eyes. Location shooting in western India’s pretty Gujarat state provides enough eye candy to boost pic’s chances beyond fests to Stateside distrib pattern that would likely be more indie than Indian.

First 63 minutes are set in Gujarat in 1851, where raja Jayant (Parvin Dabas) welcomes newlywed English schoolteacher Grace (Emily Hamilton) to live at his sprawling palatial estate. Grace embodies pure Western naivete about the East, enthusing in florid missives to her (unseen) mother about her new country’s alluring exoticism.

Unfortunately, not only Grace, but every major character in Majmudar’s script exists to embody an idea rather than a person or personality, each uttering their point of view with an absolute, repetitive conviction that’s the death of interesting drama.

Jayant, the voice of “modern” India, wants his fellow privileged rajas such as arrogant Kishore (Murli Sharma) to share their wealth and ally with Britain.

Grace’s cold-fish cousin Capt. Nelson Roberts (Glenn Fitzgerald) is the voice of Queen Victoria’s empire, repping the East India Trading Co.

Jayant’s nice sister Vinita (Sweta Keswani) is the voice of reason, warning Grace not to flirt with outcasts such as Laxmi (Nitika Anand), who teaches lower-caste children.

Battle lines are drawn so clearly that Grace’s insistent idealism appears myopic and diminishes her ostensible heroic stance, while Jayant’s opposition to the old ways seems like a death wish. After this rather weepy section, closer to a Hallmark tearjerker than “A Passage to India,” final 36 minutes shift forward to the same locale in 2005.

An Asian Studies prof (Denzil Smith) has brought his English friend and student Asha (also Hamilton) to his decaying family estate, where she meets lonely Vijay (Dabas, again), and eventually realizes that she may be Grace, reborn.

Dabas continues the charm he established as the groom in Mira Nair’s “Monsoon Wedding,” standing out in an otherwise uninspired cast. Staging and dialogue are equally stilted, while Majmudar’s talented Indian crew — especially lenser Rajen Kothari and production designer Nitin Chandrakant Desai — create such lovely imagery that Grace’s intoxication with India is understandable.

The Memsahib


Production: A Red Letter Pictures presentation of a Memsahib Films production. (International sales: Red Letter Films, Pittsburgh, Pa.) Produced by Kruti Majmudar, Dana Offenbach. Executive producers, Larry Meistrich, Vasanti Majmudar. Co-producer, Feroze Alameer , Gopi Pandalai. Directed, written by Kruti Majmudar.

Crew: Camera (Ad Labs color), Rajen Kothari; editor, Umesh Gupta; music, Uday Mazumdar; production designer, Nitin Chandrakant Desai ; costume designer, Mala Dey; hair/makeup, Virginia Holmes; sound (Dolby), Mustak Sheikh; sound designer, Arun Nambiar; choreographer, Chetan Jethava; assistant director, Sameer Sadhwani; casting, Lina Todd. Reviewed on videodisc, Los Angeles, July 28, 2006. (In Dances With Films Festival, Los Angeles.) Running time: 101 MIN.

With: With: Emily Hamilton, Parvin Dabas, Gleen Fitzgerald, Sweta Keswani, Murli Sharma, Denzil Smith, Nitika Anand, Sujata Kumar. (English, Gujarati dialogue)

More Film


    Film Review: 'Nureyev'

    It would be absurd to say that Rudolf Nureyev lived, or danced, in anyone’s shadow. He was a man who leapt and twirled and flew onstage, all muscle but light as a feather, with a freedom and force that reconfigured the human spirit. There’s no denying, though, that over the last few decades, and especially [...]

  • Die Kinder Der Toten review

    Film Review: 'Die Kinder Der Toten'

    The hills are alive (or rather, undead), with the sound of music (also mastication and the moaning of zombies) in Kelly Copper and Pavol Liska’s experimental, dialogue-free, home-movie-style riff on Elfriede Jelinek’s “Die Kinder Der Toten” (The Children of the Dead). A seminal text in Jelinek’s native Austria, the 1995 book has never been translated [...]

  • Idol review

    Film Review: 'Idol'

    How many twists can a plot undergo before it snaps? This, more than any of the many political, moral and personal conundrums that snake through “Idol,” seems to be the question writer-director Lee Su-jin is most interested in posing with his extravagantly incomprehensible sophomore feature. A seedy political thriller by way of grisly revenge movie [...]

  • The Last to See Them review

    Film Review: 'The Last to See Them'

    Truman Capote’s “In Cold Blood” stretches long as a late-evening shadow over Italian director Sara Summa’s feature debut “The Last to See Them.” The Italian title, “Gli Ultimi Viderli Vivere” which translates literally to “The Last to See Them Alive,” is also the heading of the opening chapter of Capote’s book. The setting is, similarly, [...]

  • Kalank

    Film Review: ‘Kalank’

    Events leading to the 1947 Partition of India serve as the forebodingly serious backdrop for the exhaustingly overextended razzmatazz of “Kalank,” writer-director Abhishek Varman’s lavish but ponderous Bollywood extravaganza, which opened in the U.S. on more than 300 screens the same day as its Indian release. Despite the preponderance of sets and costumes spectacular enough [...]

  • WGA Agency Packaging Fight Placeholder Writer

    WGA: 92 Percent of Writers Who Signed Statement of Support Have Fired Agents

    The Writers Guild of America estimated that over 92 percent of their members who support a new code of conduct for talent agencies have fired those representatives. Letters announcing formal termination will be delivered on Monday, the guild said in a late-hitting memo on Thursday, as most agencies will be closed tomorrow in observance of [...]

More From Our Brands

Access exclusive content