This article was last updated on June 18, 2022
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Raima Sen’s large limpid eyes lend a certain grace even to her over-sexed character in the past and contemporary times. However Konkona Sen-Sharma’s performances in her two tales suffer for the lack of inherent grace in the characters. And the actress doesn’t seem to be enjoying the process of playing these ‘naughty’ characters. In her ‘period’ piece Konkona cajoles her royal husband (Prem Chopra) to climb up a tree to watch her making love with the stud-senapati. How much fun for the actor and how funny for the audience can such a situation be? Go figure. Interestingly Vinay Shukla has cast Arunodoy Singh as the film’s resident sex object. The female protagonists in three of the stories are shown lusting after him and hitting the sack with the stud when they think their husbands are not around. To create a certain distance from the preposterous parodic premises Vinay Shukla creates a film-within-film format whereby a young struggling idealistic filmmaker (Arunodoy Singh, again) and his girlfriend (Shahana Goswami, powerful in a small role) try to convince a wily producer (Sushant Singh) to produce a film which has plenty of sex, eroticism, humour and drama. The stories that the young filmmaker in Mirch tells the cynical producer are the stories that we the audience see the not-so-young filmmaker Vinay Shukla tell with a blend of whittled-down passion and half-formed sensitivity. Some of it though not all, is interesting. As for the theme of creative compromise that triggers off the four-storeyed plot, is Mirch really liberated from those compromises? The question acquires an added meaning when Mahi Gill shows up to perform an item song choreographed by Saroj Khan at the end. Really, Choli ke peeche kya hai???
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