Producers: Martin Pope, Jennifer Kawaja,
Written by: Ian Iqbal Rashid
Cast: Jimi Mistry, Kyle MacLachlan, Kristen
Holden-Ried, Suleka Mathew, Veena Sood, Liisa Repo-Martell,
Brian George, Raoul Bhaneja
This one was a bit hard to judge due to its bipolar tendencies
of having some really brilliant elements and some really cheesy
ones. Averaging out the genius and the Gouda, I’d have to
give Touch Of Pink 3 out of 5 stars. (Really, I’d
like to give it a 2.75, but unfortunately we don’t have the
correct graphic to portray that.) I don’t want to deceive
anyone into thinking this is a stellar film, but it is enjoyable
enough in a rather melodramatic kind of way. One review I read dubbed
it “Bollywood without the song and dance,” and I’d
definitely have to agree. Several of the characters are way over
the top, but the more witty and sincere moments of the movie often
make up for their antics.
Touch Of Pink is about Alim, a young Canadian of Indian
descent (Mistry) who must break it to his fast-talking,
traditional, no-nonsense mother (Mathew) that he’s
gay. The fact that he fled to London in order to avoid such a situation
(or, as he puts it, “to find himself”) makes it that
much more difficult. When she surprises him with a visit, he even
goes so far as to claim that his British boyfriend, Giles (Holden-Ried),
is merely his roommate and that he is currently in a relationship
with Giles’ sister, Delia (Repo-Martell).
Obviously this situation cannot continue for much longer, but Alim
is determined to maintain the façade despite the effects
on those around him.
Encouraging this idea is Alim’s long-time imaginary friend,
Cary Grant (MacLachlan). Didn’t
see that one coming, did ya? Ever since childhood, Alim has lived
by the guidance of playmate, father-figure, and confidante Cary
Grant. Kyle MacLachlan plays the part of this old-school actor with
such artistry and self-indulgent humor that you can’t help
falling immediately in love with him. While the movie itself is
only so-so, MacLachlan without a doubt deserves formal recognition
for his role as supporting actor. I’d say three-quarters of
TOP’s humor stems from his banter and beautifully
expressive body language.
The other characters in TOP were far less breathtaking,
I’m sorry to say. I haven’t seen any of Jimi Mistry’s
other films (I just couldn’t bring myself to watch The
Guru), but in this movie he is subdued to the point of lifelessness.
He didn’t really seem to believe the character, if that makes
sense. But then again, I didn’t much believe the character
either. It’s as if Mistry understood the principles of what
he was supposed to portray—anger, hurt, humorous befuddlement—but
couldn’t apply them to the acting at hand. Suleka Mathew,
too, seemed to sense the futility of portraying her character realistically,
although hers was a slightly harder task, given the stereotypical
nature of her role. Take the mother from Bend It Like Beckham
and add a healthy dose of narcissistic self-absorption and you end
up with a product like Nuru. The performance is overkill, although
I have to admit, some of the funniest one-liners zing from her mouth.
Giles and Delia would have been wonderful if their characters
hadn’t been respectively limited and underutilized. Holden-Ried
was typecast into the narrow confines of former playboy gone straight
(no pun intended) but gave some wonderful performances in scenes
where he was given free rein. Repo-Martell was great in her few
appearances as the slightly exasperated and out-of-place sidekick.
She reminded me of a female Hugh Grant, and I look forward to seeing
her in future projects. So while as a whole Touch Of Pink was
only lukewarm, there are some definite moments—and people—that
make it worth renting.
— Emily Younger
Take a pal and pay full price for both tickets.
Itís worth a full-price ticket.
Itís worth a matinee ticket.
Wait for video rental.
Check out the video from the library, if you must.
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