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That Girl in Yellow Boots 2010
Description: An Anglo-Indian girl works in a seedy Mumbai massage parlor while trying to search her long-lost father.
Released: 02 Sep 2011 Director: Anurag Kashyap Writers: Anurag Kashyap, Kalki Koechlin Actors: Kalki Koechlin, Prashant Prakash, Naseeruddin Shah, Gulshan Devaiah Genres: Crime, Drama, Mystery, Thriller
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That Girl in Yellow Boots Reviews:

Steve Jobs, the 'ex' CEO of Apple Inc. once said, "It isn't consumers' job to know what they want." This mantra fits well for the fresh age cult filmmaker Anurag Kashyap, who has drawn a powerful line between the mainstream and the parallel with all his films as a director or a writer. Following those words, made them respected names in their arenas.His recent offering That Woman In Yellow Boots, co-written by Kalki, is "socially" not intended for the audience we see in this country. God knows how he arrived at the idea of this movie...may be after getting intoxicated and sunken into the pervert sex stories? After scripting this concept and now materializing it into a detail movie needs gutsy balls. Told it. Indian producers are obviously not that ballsy to produce it, only if they receive time and cash from puke-like sugar candies and silly remakes. So valid is the irony of this filmmaking: 13 days to shoot the whole movie and 2 years to release it! Coming upon the movie, Ruth Edscer (played by Kalki) in her metaphoric Yellow Boots is trapped in labyrinthine Mumbai, in find of a boy who she hasn't seen since childhood and he also happens to be her father. In this quest, she comes across boys of all kind- some "Men is Dog" type at foreigner's registration office, a generous Diwakar (Naseeruddin Shah) at the massage parlor with the name "Aspaspa" where she works without a permit, his druggie boyfriend Prashant (Prashant Prakash), gang-man Chittiappa (Gulshan Devaiya) are some to mention. The numerous male characterization sets layers for the storyline to proceed: Makarand Deshpande as post master, Ronit Roy as a humble but unhelpful policeman, Piyush Mishra as a rickshaw-wallah and also Rajat Kapoor.Fixed with the plot, the movie runs for around 1hour 30 mins with every frame mellowed with dark creativity of arts and lights (reason: weak production this time, may be) adds a charm to the type of the tale it is paced to tell. Rajeev Rai's camera work with some guerrilla technique shots, trademarks the Anurag Kashyap type of filming. Editing by Shweta Venkat and the parallel storytelling carves to enter the dark psyche of the protagonist. The debut melody director Naren Chandavarkar grips harder onto the movie with the background score- a striking folk category sung by Shilpa Rao to portray the lead Ruth.Performances of almost each character, as they appear on the screen, hits difficult - be it Makarand Deshpande only for seconds or Naseer Saab in all his short appearances. The another help Prakash and Chittiappa are worth watch. And to search a humor in this dark tale, there is Maya as the manger of Aspaspa, played by Puja Swaroop. Kalki is thrilling as Ruth, speaks with silence and her eyes.Kashyap, as always, asks his audience to feel the film rather than to play it. And, once you are sunken into the idea he pictures here, you are shocked with its disturbing climax. With the Indian Censor Board passing this idea and National Movie Development Corporation producing it, I see some maturity in them and expects the same from the audience. Digest this. Have Gelucil. No puking.An urge to the Bollywooders: If a director, known for his critically acclaimed work, risks it with his future on stake and has balls enough to throw an concept beyond the scope of Bollywood that producers will never risk, isn't it your job as a part of liberal cinema lovers to see the bar rising just at the cost of a film ticket and some time? Like. Dislike. Your say. Concepts need to be projected.


There are certain masked aspects of society which when revealed reflect the filthy side of otherwise laminated societal structure. That Woman in yellow Boots revolves around one such aspect of society which will shock the audience and they will question their foundation. But one need to have a powerful belly to digest the movie even though all knows whatever depicted is brutally real. This film which was not getting producer since its inception finally rescued by NFDC thus making its presence felt in International movie festival circuits. With a US distributor on board the movie will be getting an International release and it deserves that.Anurag Kashyap collaborated with his wife Kalki Koechlin to write the script of this dark slice of life film. Like Dhobi Ghaat the movie revolves around several protagonists but similarity ends there. While the former dealt with softer side of relationships TGIYB reflects the darker side of human nature which is hidden beneath sophistication. Anurag Kashyap knows the darker side of metros like no another director and after exploring Delhi in Dev D the director chose Mumbai and its by-lane to say the storyline of Ruth (Played by Kalki) of Indo-British origin. She comes to India in find of her father, who has left the family when she was 5 years old. There are several another characters surrounding Ruth's life. Sid is her boyfriend whose fiend is preoccupied with his d*ck and drugs and the another boy Divakar (played by Naseeruddin Shah) who comes for leg massage from Ruth daily and has a fatherly affection towards her. Amidst her life in the massage parlor Ruth saves cash which she uses on find of her father. While digging on the truth some twisted shocking facts comes out which changes the method Ruth perceives several folks and things. Anurag Kashyap keeps his script easy this time with imagery over powering the narrative as the objects in every frame symbolizing something or the other. It is through Ruth's eyes the pervasive man's nature in a metro is laid under a scanner. The "Yellow" color symbolized the psychedelic state of Dev's mind in his earlier masterpiece Dev D. In this film Yellow symbolizes aberration. It reflects something which is twisted and off-path from societal normal functioning. The clumsy looking yellow boots radiates the confused state of Ruth's mind the method she is vulnerable and difficult towards Sid because of whom she looses 57000. The yellow boots also symbolizes the uneasy state of Ruth's existence as she becomes restless in find of her father, perturbed about getting her Visa which is delayed due to evergreen redtapism, edgy about her feelings as she watches Osho but then feel disturbed in getting laid only to satisfy her BF with a hand job. Kashyap is a maverick director who is simply genius in his direction and here also he is simply flawless in execution. All the characters came to live with his finer sense of camera angles, lights and color. He uses the shades of yellow to highlight various state of Ruth. Through Divakar,Sid,local goon Chuttiyappa (brilliantly played by Gulshan Devaiyya who was earlier seen in Shaitan) he tried to tip upon certain Grey shades of society-Grey in terms of optimism as well as negativity. With able help from Shweta Venkat in editing department and Kashyap's patent Rajeev Ravi in camera the director creates the excellent setting required for the realistic thriller. Most of the time one cant predict the next frame thus showing the brilliance of Venkat's editing. Appreciation would remain incomplete without mentioning Washinq Khan's flawless set design and Shubra Gupta's costume. Naren Chanravarkar and Benedict Taylor's melody is simple on ear and in tune with the narrative. Amongst the actor Kalki is in brilliant form as the lady in find of her father. She raises her own bar with this movie and look forward to such finer works by her. She could also be given credit for weaving the storyline which is indeed shockingly true for Indian masses. Language is true and bold but one is witness to such cuss words in Delhi Belly so hopefully it will not come as shocker agree for hand job sequences. Naseeruddin Shah surrenders himself to Mr Kashyap and renders a spontaneous performance. Prashant Prakash's is simply brilliant in his debut movie and is an actor to look for. Gulshan Devaiyya rocked as KC in Shaitan and here was at his menacing greatest as Chutiyappa.Pooja Swaroop excels as blabbering Maya. Divya Jagdale and Shiv Subramaniam did a nice job in their respective roles. There are also fine actors like Piyush Mishra, Markand Deshpande, Ronit Roy in one off sequences.Anurag Kashyap improves himself with every movie and through each movie he elevates the lvl of Indian cinema to the next step. TGIYB is one such thriller which will not ruin the BO but will surely be remembered in the history of Indian cinema for its brilliance. The movie is real, hard, shocking and for a selective audience. If you are a lover of independent cinema then go for this one and you won't be disappointed.


With "That Woman in Yellow Boots", Anurag Kashyap moves into what is known as the International art-house circuit. Movies here are generally about weird out of zone characters stuck in emotional turmoil. Generally sexuality or the abuse of it is the undercurrent theme of most of these films. Most characters are depraved and yet seemingly deep. Most importantly most of it is about folks who you will never meet or never know in true life. The cases and territories in the movies will be so out of zone that you will problem identifying with almost all of them. These movies are bold and more often than not for the sake of being bold."That Woman in Yellow Boots" is all of the above. Shot extensively well it says a poignant storyline of an English woman Ruth (Kalki Koechlin) who is illegally in India. She is searching for her father who left her and her mother a long time ago. To sustain herself and pay the bribes to the authorities she works in a massage parlor where she also earns a fast thou on each hand job she does. To add to this dreary existence is a cocaine addicted boyfriend (an unknown Prashant Prakash) and a Kannada gangster (a brilliant Gulshan Devaiya last seen in Shaitan) looking to receive his cash back.Many another globe weary characters come and go. Like the annoyingly loquacious massage receptionist who keeps flirting on the smartphone (a magnificent Pooja Swarup), an old fatherly figure (Naseeruddin Shah) who only comes to the parlor for a nice clean massage and a slimy inspector who keeps turning up and demanding cash (for what reasons we are never told).Amidst all of this the movie becomes a list of interlaced seemingly disconnected scenes of either Ruth massaging (read pleasuring) someone or searching for her father by finding his namesake who has the same occupation as her father.The movie cute much has a solid Kalki in each frame. She lights up at each occasion that brings her nearer to her father and at the same time makes you realize her frustration as someone who is constantly meeting expectations of strangers. It is a wonderfully dark role and Kalki's silence at most times speaks volumes.Anurag Kashyap as usual frames every shot with much care but one can't support but wonder that he seems to have blurred the line between shocking us through realistic characters in extraordinary cases and shocking us for the sake of shocking.So in the end you might end up questioning why such unnecessarily outrageous, vulgar and sexually charged up tones are show in almost all representations in this grim mystery. Why is it that the boyfriend is such an extreme figure trying to rehabilitate himself by chaining himself to a window? Why is the gangster named Chitiappa, so that the C word can be repeated again and again? and not to mention the art decor house that Ruth lives in which seems overtly engulfed with decay. Or for that matter the shocking ending which people would have seen coming half method through the film (though not the identity of the person in question) I guess Anurag constantly is trying to break the barrier of how politically incorrect he can receive with his films and if the price to pay is a story or disconnected characters, then so be it. What he does not realize is that audience will only remember this for the shock value and not some artistic vision that the International Art-house Circuit often enjoys.But to his credit, there is one thing that the movie does prove that Anurag Kashyap can handle complex emotional topics with nice control and not make something that should have easy slipped into a depressing and ugly snooze fest. In the end, TGIYB would be remembered as one of the also made for a director who would eventually be counted as one of the all time greats for Indian Cinema.Final Suggestion That Woman in Yellow Boots is worth a watch but to movie freaks who like to be shocked and are looking for the discerning items esp. for fanatics of Gaspar Noe and Lars Von Trier. For another enthusiastic fanatics of the multiplex films (read Shaitan, Dev D etc. ) this may not be the shoe they wish to test on. Fanatics of commercial fare like Wanted and Dabangg might as well stay miles away from this lest they receive nightmares.



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