- #Kamasutra the tale of love how to
- #Kamasutra the tale of love movie
- #Kamasutra the tale of love full
#Kamasutra the tale of love movie
The film takes its title from the famous fourth-century manual of erotic arts, but Kama Sutra isn’t a movie about people having sex while standing on their heads. Kama Sutra is set in an Indian kingdom during the 16th century, and Nair’s conceit is that these faraway characters, in their polite, decorous way, had a more potent sense of the erotic within the everyday than we, with all our frenzied sexual packaging, do. That, of course, could also describe many a fashion model, but Varma, who radiates an almost preconscious joy in the power of her femininity, doesn’t have the commodified blankness of today’s multimillion-dollar cover girls. She’s like an amorous sculpture come to life. Varma has sculpted aristocratic features - aquiline nose, almond eyes, thin lips that break into a twitch of a smile - that don’t prepare you for the luxurious fleshiness of her body. The film features an actress new to the screen, Indira Varma, who is an erotic spectacle all by herself. She is better than this work.I can think of countless less pleasurable ways to spend two hours at the movies than staring at the voluptuously entwined bodies of Mira Nair’s libidinous fever dream, Kama Sutra: A Tale of Love. The film is lush and voluptuous to regard, but I expected more from Mira Nair, and I was disappointed. The story is contrived and unconvincing, the psychology is shallow, and moments of truth are passed over for moments of beauty. The problem, in the end, is that "Kama Sutra'' adds up to very little. And the cinematography by Declan Quinn places them in painterly compositions that have a sensuous quality of their own.
#Kamasutra the tale of love full
And the two actresses are great beauties Varma, with her lithe model's figure, is the more conventional, but there is much to be said for Choudhury's full lips and deep eyes. The movie's story is really just the occasion for the scenes of eroticism, but it must be said that those scenes have a beauty and solemnity that is quietly impressive. Nair has prepared the screenplay with great attention to the mores of the time (doctors arrived in the chambers of women covered with a cloth, for example, which provides the means for a lover's escape just in the nick of time). And if I can't use them on the one I love, I will use them on the ones I don't.'' She does indeed become accomplished as a courtesan, and eventually drifts back into the orbit of the royal court the king takes her as his lover, and then there are boudoir intrigues involving the sculptor, whom Maya still loves.
#Kamasutra the tale of love how to
But there is much in the book beyond technique: It is a work of art, dance and philosophy, and Maya proves a good student, telling her teacher: "I want to learn the rules of love and how to use them. (Concerning the pressing of the nails against the body, for example, I have always much preferred the subtle "leaf of the blue lotus'' technique to the more abrupt "jump of a hare''). She then meets a wise older woman (Rekha), who runs a school for courtesans, based on the ancient book "Kama Sutra,'' or "Lessons in Love.'' This book is known in the West mostly for its exhaustive (and exhausting) lists of sexual positions, and for its carefully delineated caressing techniques. She becomes his lover and model, until he decides she cannot be both at the same time, and unwisely (in my opinion) prefers her as his model. Now something I have used is yours forever.'' Maya is exiled from the village by the bitter Tara and drifts from town to town until she falls beneath the gaze of a sculptor ( Ramon Tikaram). The next day she taunts her rival: "All my life I have lived with your used things. When Tara is betrothed to the king, Raj Singh ( Naveen Andrews), Maya slips into his chamber on the night before the wedding and seduces him. The heroine is a servant girl named Maya ( Indira Varma), who has always lived in the shadow of her childhood friend, the well-born Princess Tara ( Sarita Choudhury, from "Mississippi Masala''). Nothing in her previous work (the great film "Salaam Bombay!" and two good films, " Mississippi Masala" and " The Perez Family") prepared me for this exercise in exotic eroticism. To find a film like this from the 1960s, made by a man, would be one thing to find it made in 1997 by Mira Nair is more startling. "Kama Sutra'' is a lush, voluptuous tale told in 16th century India about two young women who grow up to pleasure a king-one as his wife, the other as his courtesan.
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