Read this review of Deepa Mehta’s Water (2006) by Tribune critic Michael Wilmington. I have not seen the film not too keen to watch it.
Recently, the film based on Dan Brown’s acclaimed novel Da Vinci Code was released amidst great fanfare and controversy. Some Indian States even banned it. Well, don’t start a flame war here but seriously folks, what were those people thinking protesting against a movie? Spend that time praying to God rather for world peach or personal betterment.
Anyway, back to topic.
Meera Nair’s movies are truly beautiful and moving. Realistic. Simple.
Water has so far done just $1.5 Million in box office collections over the world.. I don’t know the production budget for this project. I am sure it is quite small.
In 2002, Mira Nair’s Monsoon Wedding did a total US gross of ~$14 Million, with a production budget of $160 K, returning a whopping 86x.
http://metromix.chicagotribune.com/movies/mmx-060505-movies-review-water,0,3991026.story?coll=mmx-movies_leftutility
Deepa Mehta’s “Water”–the third film in her elemental “Fire”-”Earth”-Water” trilogy–is a gentle yet powerful drama of social protest, an impassioned portrayal of the fruits of prejudice, set in 1938 India, at a time when Gandhi’s crusade against British rule flourished.
Without being at all sappy, “Water” is a deeply romantic film; Ray and Abraham are one of the most stunning couples the screen has recently given us. And despite its incendiary subject, it isn’t strident. Even so, when writer-director Mehta, a Hindu herself, started shooting “Water” in India in 2000, she was driven out by extremist religious protests. (Mehta had to recast and reshoot the film in Sri Lanka, completing it in 2004.)
Protest dramas run the risk of seeming schematic and foreordained, but Mehta lets us relax into these images, live with these characters–just as she did in “Fire,” which dealt with contemporary arranged marriages, and “Earth,” which was about India’s partition. The way she shoots “Water,” so openly and with such unforced joy, exposes the evil rigidity of the widow laws as much as the story itself. The sight of Kalyani’s sweet, resigned expression, surrounded by a world of pain, imprints her face and fate on our minds, sets a blaze of love and rage in our hearts.