(This is one of ten reports on films at the 58th London Film Festival – other reports can be found on The Case for Global Film Blog)
It will be interesting to see how this film fares on release in India. The biggest hurdle to a successful release is likely to be the presentation of lesbian sex scenes featuring a Pakistani character. Writer-director Shonali Bose appears fairly relaxed about the prospect, counting on the audience to react sensibly. She may well be proved right since the Indian audience for the film is likely to be confined to middle-class urbanites. I hope it does go wider because it isn’t an art film. I also hope that it gets a significant release in international markets.
The title refers to the alcoholic drink of preference for the film’s central character Laila, a young woman from Delhi with cerebral palsy who is determined to experience everything life has to offer. Laila’s story is a very personal project for Shonali Bose who wrote the film soon after the accidental death of her son and chose to draw on the experiences of her cousin who has cerebral palsy. The film is co-produced by Viacom 18, Jakhatia Group, Bose’s own Ishant Talkies and ADAPT (the Indian agency ‘Able Disabled All People Together’).
The star performance in the film is by Kalki Koechlin as Laila. Shonali Bose was present at the screening in Islington and she answered the inevitable question about why she hadn’t cast someone with cerebral palsy to play the lead role. She explained that she had tried to find the right person but eventually decided that because of the emotional nature of several major scenes, she needed someone with extensive acting experience. Kalki Koechlin is mesmerising and That Girl In Yellow Boots proves that she can do things that many Bollywood stars would find impossible.
The plot sees Laila, a bright and talented young woman in a Delhi college become frustrated by both the academic and creative limitations she faces. In addition she is frustrated in attempts to develop her love life – she is an ‘ordinary’ and ‘normal’ girl who just happens to be in a wheelchair. Reluctantly her father agrees to her move to New York University on a scholarship. At first her mother accompanies her but soon she has teamed up with a more experienced blind Pakistani student and the two share an apartment. All goes well until the couple travel back to Delhi and several secrets are exposed.
Shonali Bose trained as a filmmaker at UCLA and this is her second film following Amu in 2005 with Konkona Sen Sharma. She spends her time between LA and Mumbai. Her first film was an international festival success but faced censorship in India (it refers to the 1984 attacks on Sikhs following the assassination of Indhira Gandhi). But whereas the first film was mainly in English, Margarita With a Straw switches between Hindi for most of the Delhi scenes and English in New York. Cast and crew are a mix of ‘international’ and Indian. The film is photographed by Anne Misawa, another Californian graduate (who also shot the Korean indie Treeless Mountain (South Korea-US 2008)). Mikey McLeary is a New Zealander working as a music composer out of Mumbai and sound design includes work by Oscar winner Resul Pookutty. Nilesh Maniyar is credited as co-writer and co-director though there is no indication of what this means in practice (he was at the Q&A in London). The cast includes Revathi (Asha Kutty) the experienced star of many Indian language cinemas and recently in 2 States (2014) as the Tamil mother. William Moseley is an English actor and the star of the first two Narnia films. Sayani Gupta, who plays the Pakistani young woman, is an FTII graduate and in 2012 she featured in a Bengali film Tasher Desh, part-produced by Anurag Kashyap Films. Perhaps she met Kalki Koechlin (Kashyap’s partner) at this point?
What all this adds up to I think is something rather more ‘international/global’ than Indian independent. Perhaps her two features place Shonali Bose alongside Mira Nair and Deepa Mehta as ‘diaspora filmmakers’? I enjoyed the film very much and found it very moving. I was slightly worried in the first section because the incident which partly triggers Laila’s ‘rebellion’ seemed such an obvious slight (Laila’s music group is given a prize seemingly because she is ‘disabled’). But of course such stupidity does happen. Laila, through the script and Koechlin’s performance, is a rounded human being – capable of being petty, mean and selfish as much as vivacious, loving and charming. If I have a criticism of the film it is that Laila’s acceptance by everyone she meets in the New York scenes seemed simply too good to be true. I expect that not all the bus drivers, waiters, taxi drivers and shopkeepers in New York are quite so cheery and helpful – they aren’t in London! Just a little grit and rejection would have helped, but this is a minor quibble. The film is a triumph and deserves to be widely seen. I should also mention the music since this is Laila’s unique talent – in the lyrics she writes and in the singing with her mother. The effect of this film is certainly ‘feelgood’ – but not in a contrived, artificial way. Instead we see somebody living their life and not allowing their own physical difficulties or anyone else’s preconceptions stand in their way. You can’t ask more than that in a story.
It looks like an Indian release is planned but I’m not sure if it has been picked up for North American or UK distribution yet. Variety reported in September that WIDE Sales have a deal for Japan in 2015 and that ‘two or three’ distributors are interested for North America and two for the UK. Having wowed audiences at Toronto, Busan and now London you hope that a distributor would get behind it.
Here’s the rather good ‘International Trailer’: