Indian cinema is truly evolving. More and more film-makers in Mumbai specifically are realizing the importance of narrating a new story every time they make an effort. Anurag Kashyap, the maverick, had been doing so from his first film. His new film, THAT GIRL IN YELLOW BOOTS, is by far his boldest film and if I may say so, his best effort so far. Powerful and captivating, THAT GIRL IN YELLOW BOOTS has a shocker of a conclusion that leaves you disturbed and troubled.
For the conventional spectators of Hindi cinema, THAT GIRL IN YELLOW BOOTS will come across as a never-seen-before experience. On the surface, THAT GIRL IN YELLOW BOOTS may give the impression of being a thriller, but as you delve deeper and deeper, you apprehend that controversial themes like child abuse and drug addiction have been pragmatically depicted by the ace raconteur. In fact, the culmination to the story — an expose on the psychopathic behavior — is truly jaw dropping and continues to haunt you even after the movie has concluded. That’s the kind of impact it makes!
Ruth (Kalki Koechlin), a British citizen, flies down to Mumbai in search of her father she hasn’t met in 15 years. Not content with her mother asking her to stay away, Ruth stubbornly leaves home. She’s seen enough misfortune already – her sister recently passed away. A letter from her father saying he wants to reconnect fills her with hope.In her miserable life as a masseur giving “handshakes” for extra money, the letter becomes a source of hope – for better times, for “unconditional love”.
Her quest for the father continues, as she deals with her boyfriend’s drug addiction, simultaneously juggling sleazy men who want “payment in kind” for any help. You need a strong stomach to sit through this character’s wretched life where we are brazenly put face-to-face with the worst in humans.
So you sit through characters suffering prostitution, incest, corruption, addiction, and violence. The macabre misery is suffocating, really.