|Old and New Indian Art Cinema - Naseeruddin Shah (left) and Kalki Koechlin (right).|
Very few Indian actresses would be prepared to breach such an on screen taboo in fear of losing either box office credibility or deconstructing their star image. In one point in the film, Ruth is told by someone she is a cross between ‘bugs bunny and Julia Roberts’, to which Ruth replies, ‘I like bugs bunny’. It is obvious from this exchange that Koechlin feels very self aware about her looks and is not afraid of using reflexivity as a performance device. Ruth is an outsider and her encounters with all of the men in the film presents us with some unsavoury characters such as a drug addict, demented gangster and a self righteous elderly man. Perhaps Ruth’s position as an outsider is extenuated by the anxious representations of male identity – they all want or need something from Ruth. If Ruth’s relationships with the men in the film points to a familiar theme of patriarchal exploitation then the final revelation at the end suggests that masculinity is altogether more corrupt, perverse and archaic than first imagined. Unfortunately, the film was never released in UK cinemas and was not given much of a distribution in India. I guess we could say the same for Kashyap’s best work to date such as Gulaal. That Girl in Yellow Boots was partly financed by NFDC and it is an iconoclastic art film with a dark subject matter. The most direct link between the film and parallel cinema of the past is the presence of stalwart Naseeruddin Shah. Kashyap is such an exciting and uncompromising new voice in Indian cinema and I am really looking forward to his forthcoming gangster project. What separates Kashyap from his contemporaries is innovation, a characteristic that runs throughout his work.