"Though occasionally overbearing, Mychael Danna's lush score mixes 
well with a half-dozen strong songs by prominent Indian composer A.R. 
Rahman, showcased in nicely handled montage sequences."

http://www.variety.com/review/VE1117928099?categoryid=31&cs=1


Water
 
(Canada)
 
A Mongrel Media release (in Canada)/Fox Searchlight release (in U.S.) 
of a David Hamilton production. (International sales: Celluloid 
Dreams, Paris.) Produced by David Hamilton. Executive producers, Mark 
Burton, Ajay Virmani, Doug Mankoff, Hamilton. Directed, written by 
Deepa Mehta.
 
Shakuntala - Seema Biswas
Kalyani - Lisa Ray
Narayan - John Abraham
Chuyia - Sarala
Madhumati - Manorama
Patiraji, aka "Auntie" - Vidula Javalgekar
Gulabi - Raghuvir Yadav
Sadananda - Kulbushan Kharbanda
Rabindra - Vinay Pathak
 
By EDDIE COCKRELL advertisement 

 


Sarala, foreground, plays the young widow Chuyia in Deepa 
Mehta's 'Water.' 
 
 

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Deftly balancing epic sociopolitical scope with intimate human 
emotions, all polished to a high technical gloss, Deepa 
Mehta's "Water" is a profoundly moving drama about an 8-year-old 
Hindu widow sent to live in an Indian ashram with other widows who, 
in strict adherence with Hindu texts, are condemned to the same 
outcast fate. Final pic in helmer's thematically linked but 
dramatically unrelated "Elemental Trilogy" (1996's "Fire," 
1998's "Earth""Earth"), this deeply satisfying film will flow from 
plum opening-night slot at Toronto fest to upscale arthouse berths 
beginning Nov. 4 in Canada via Mongrel Media. Fox SearchlightFox 
Searchlight can expect a similar welcome Stateside.
Incredibly, pic shows no signs of being the second pass at production 
following a 2000 shutdown in the wake of on-set riots sparked by 
Hindu fundamentalists who objected to the film's portrayal of child 
widows' being prostituted. Rather, it appears that this strife, which 
prompted recasting and reshooting on locations in Sri Lanka under a 
fake production title, has toughened Mehta's focus.

Gone is the tendency toward heart-on-the-sleeve emotions that marred 
both her previous trilogy entries and interim 
pics "Bollywood/Hollywood""Bollywood/Hollywood" and "The Republic of 
Love." Sentimentality is replaced here by a deep passion and calm 
confidence in the power inherent in this startling story (closing 
title card claims 2001 Indian census lists some 34 million widows).

In 1938 India, as the progressive ideas of Mahatma Gandhi are working 
their way across the country, young Chuyia (Sarala) is told by her 
distraught father that the older man to whom she's been married has 
died following an illness. "Do you remember getting married?" he asks 
her gently. "No""No" is the solemn reply.

The girl is promptly sent to a widows' home, but the unfamiliarity of 
her surroundings doesn't suppress the child's natural spunkiness and 
unforced charm.

She soon settles in to ashram life among the 14 other widows, all of 
whom are shunned by society. Their house is ruled by the huge, foul-
tempered Madhumati (Manorama), who smokes pot in the evening while 
condemning Gandhi's policies with local pimp and hermaphrodite Gulabi 
(Raghuvir Yadav).

Together, Madhumati and Gulabi prostitute the beautiful young widow 
Kalyani (Lisa Ray), offering her to the rich Brahmins across the 
river; when she's not working, Kalyani prays to Krishna and shares 
her forbidden puppy with Chuyia. Much quieter is middle-aged 
Shakuntala (Seema Biswas), to whom Chuyia gravitates.

When handsome and idealistic lawyer Narayan (John Abraham) helps 
Chuyia corral the puppy after it escapes, an escalating romance is 
sparked between him and Kalyani that eventually destabilizes the 
dynamic in the house, with tragic consequences.

An unerringly stately pace infuses these characters with a quiet 
dignity that elevates the material and holds pic together across a 
running time that flirts with the overlong.

Cast is terrific, highlighted at either end of the generation gap by 
newcomer Sarala's innocent resilience and an utterly charming turn by 
Vidula Javalgekar as an elderly, sweets-obsessed widow known 
as "Auntie."

Though in the background for much of the film, Biswas becomes a force 
in the third act: Her climactic, frantic handing-off of Chuyia to 
Narayan on a train to freedom that Gandhi himself is riding on, and 
her final gaze back at the life to which she must return, reprep 
pic's finest moments.

Tech credits are tops down the line, led by the shimmering blue-green 
palette of d.p.d.p. Giles Nuttgens, who first worked with Mehta on 
the final episode of "The Indiana Jones Chronicles"--where she first 
conceived of the story that would eventually become "Water."

Though occasionally overbearing, Mychael Danna's lush score mixes 
well with a half-dozen strong songs by prominent Indian composer A.R. 
Rahman, showcased in nicely handled montage sequences.
 
Camera (Kodak color, widescreen), Giles Nuttgens; editor, Colin 
Monie; music, Mychael Danna; songs composed by A.R. Rahman; lyrics by 
Sukhwinder Singh; production designer, Dilip Mehta; art director, 
Sumant Jayakrishnan; costume designer, Yusuf; assistant director, 
Dylan Gray. Reviewed at Toronto Film Festival (Gala, Opening Night), 
Sept. 8, 2005. Running time: 117 MIN.
 

 
With: Gerson da Cunha, Ronica Sajnani, Meera Biswas, Waheeda Rehman, 
Buddhi Wickrama, Rinsly Weerarathne, Iranganee Serasinghe, Hermantha 
Gamage, Ronica Sajnani, Rishma Malik, Sanoja Bibile, Dolly Ahluwalia 
Tewari, Daya Alwis, Delon Weerasinghe, Seema, Francisca Mudannayake, 
Mulchand Dedhia, Isuru Navodya, Niroshan Wijesinghe, Vasanth Nath, 
Mohan Jhangiani, Zul Vilani (voice).
(Hindi dialogue)









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