Courtesans of Bombay


1h 15m 1986

Brief Synopsis

Cameras visit a Bombay compound noted for its female musicians and prostitutes.

Film Details

Genre
Drama
Documentary
Release Date
1986
Production Company
Camera Effects; Channel 4; Channel Four Television; Film4 Productions; Merchant/Ivory Productions
Distribution Company
Cinecom International Films; New Yorker Films

Technical Specs

Duration
1h 15m

Synopsis

Cameras visit a Bombay compound noted for its female musicians and prostitutes.

Film Details

Genre
Drama
Documentary
Release Date
1986
Production Company
Camera Effects; Channel 4; Channel Four Television; Film4 Productions; Merchant/Ivory Productions
Distribution Company
Cinecom International Films; New Yorker Films

Technical Specs

Duration
1h 15m

Articles

The Courtesans of Bombay


The Courtesans of Bombay (1983) is a rarely seen feature from James Ivory and Ismail Merchant, the creative team behind a string of film hits like A Room with a View (1985) and Howards End (1992). The film was directed by Merchant, who first learned about courtesans when he was a child in India. The courtesans, women who were trained from childhood to perform, would appear "during weddings at home, celebrations of childbirth, and other festivities. They provided the entertainment of singing and dancing and I used to watch them." At sixteen, Ismail was taken to see the courtesans perform for an all-male audience, and the memory stuck with him.

The Courtesans of Bombay is a semi-documentary (or "docu-drama" as Merchant called it) that blends fiction and fact. Parts of the film are scripted by longtime collaborator Ruth Prawer Jhabvala, particularly the scenes with Saeed Jaffrey, known for his work in Gandhi (1982) and A Passage to India (1984). Jaffrey played one of the film's three narrators; an actor who becomes obsessed with his favorite dancer and abandons his family to watch her. Zohra Sehgal and Kareem Samar, as a former courtesan and a rent collector for a landlord (who was Merchant's friend in real-life) respectively, are the other two narrators.

With a budget of only £100,000, provided by Channel 4 television in London, the film was shot on 16mm in Mumbai and Pavan Pool, Maharashtra, India. Pavan Pool, where the 16-year-old Merchant had seen the courtesans, is, as Robert Emmet Long wrote in The Films of Merchant Ivory, "a small enclave within the city [of Bombay], yet it is a world unto itself. Four or five thousand people live in its tenements, with as many as twelve to a room, and a spillover of others lie on the stairways and roofs. Whole families live there, but the breadwinners of Pavan Pool are women who from an early age perform the traditional arts of song and dance in the building's beehive of rooms, where male loungers reward their performances with applause and money. Sometimes more is exchanged for rupees than the witnessing of a dance, but The Courtesans is very discreet, and the buying of sexual favors, while acknowledged, is not given a prominent place in the film."

The Courtesans of Bombay was broadcast in England on Channel 4 in January 1983 and was released theatrically in the United States in March 1986. When the film was reviewed by Walter Goodman of The New York Times, he called it "a fascinating 73 minutes of sociology, human interest and exotic entertainment," adding that: "The mood is one of appreciation of the women's accomplishments, with a touch of dismay that movie music and dances are more popular these days than the traditional modes."

Producer: Ismail Merchant
Director: Ismail Merchant
Screenplay: Ismail Merchant, James Ivory, Ruth Prawer Jhabvala
Cinematography: Vishnu Mathur
Film Editing: Amit Bose; Rita Stern (co-editor)
Cast: Saeed Jaffrey, Zohra Sehgal, Kareem Samar
C-74m.

by Lorraine LoBianco

SOURCES:
Goodman, Walter "THE SCREEN: 'COURTESANS OF BOMBAY'" The New York Times 19 Mar 86
The Internet Movie Database
Long, Robert Emmet The Films of Merchant Ivory
www.merchantivory.com
The Courtesans Of Bombay

The Courtesans of Bombay

The Courtesans of Bombay (1983) is a rarely seen feature from James Ivory and Ismail Merchant, the creative team behind a string of film hits like A Room with a View (1985) and Howards End (1992). The film was directed by Merchant, who first learned about courtesans when he was a child in India. The courtesans, women who were trained from childhood to perform, would appear "during weddings at home, celebrations of childbirth, and other festivities. They provided the entertainment of singing and dancing and I used to watch them." At sixteen, Ismail was taken to see the courtesans perform for an all-male audience, and the memory stuck with him. The Courtesans of Bombay is a semi-documentary (or "docu-drama" as Merchant called it) that blends fiction and fact. Parts of the film are scripted by longtime collaborator Ruth Prawer Jhabvala, particularly the scenes with Saeed Jaffrey, known for his work in Gandhi (1982) and A Passage to India (1984). Jaffrey played one of the film's three narrators; an actor who becomes obsessed with his favorite dancer and abandons his family to watch her. Zohra Sehgal and Kareem Samar, as a former courtesan and a rent collector for a landlord (who was Merchant's friend in real-life) respectively, are the other two narrators. With a budget of only £100,000, provided by Channel 4 television in London, the film was shot on 16mm in Mumbai and Pavan Pool, Maharashtra, India. Pavan Pool, where the 16-year-old Merchant had seen the courtesans, is, as Robert Emmet Long wrote in The Films of Merchant Ivory, "a small enclave within the city [of Bombay], yet it is a world unto itself. Four or five thousand people live in its tenements, with as many as twelve to a room, and a spillover of others lie on the stairways and roofs. Whole families live there, but the breadwinners of Pavan Pool are women who from an early age perform the traditional arts of song and dance in the building's beehive of rooms, where male loungers reward their performances with applause and money. Sometimes more is exchanged for rupees than the witnessing of a dance, but The Courtesans is very discreet, and the buying of sexual favors, while acknowledged, is not given a prominent place in the film." The Courtesans of Bombay was broadcast in England on Channel 4 in January 1983 and was released theatrically in the United States in March 1986. When the film was reviewed by Walter Goodman of The New York Times, he called it "a fascinating 73 minutes of sociology, human interest and exotic entertainment," adding that: "The mood is one of appreciation of the women's accomplishments, with a touch of dismay that movie music and dances are more popular these days than the traditional modes." Producer: Ismail Merchant Director: Ismail Merchant Screenplay: Ismail Merchant, James Ivory, Ruth Prawer Jhabvala Cinematography: Vishnu Mathur Film Editing: Amit Bose; Rita Stern (co-editor) Cast: Saeed Jaffrey, Zohra Sehgal, Kareem Samar C-74m. by Lorraine LoBianco SOURCES: Goodman, Walter "THE SCREEN: 'COURTESANS OF BOMBAY'" The New York Times 19 Mar 86 The Internet Movie Database Long, Robert Emmet The Films of Merchant Ivory www.merchantivory.com

The Courtesans of Bombay


The Merchant-Ivory-Jhabvala filmmaking team took a break from features to produce this semi-documentary peek inside a hidden corner of Indian culture, the 'courtesans' of a large apartment block called Pavan Pool, circa 1983.

The 16mm camera takes an ethnographic interest in every detail of life in Pavan Pool, combining straight documentary footage with staged material. Well-known actor Saeed Jaffrey appears as not himself but an anonymous part-time film actor who likes to attend performance nights at Pavan Pool. He often addresses the camera directly to explain what we're seeing. Two other less familiar actors also take turns narrating parts of the minimalist story.

Kareem Samar plays a rent collector with the unenviable task of trying to make the residents pay. He balances their endless excuses with mostly toothless threats, as the absentee landlord would never stoop to admit that he owned the property, let alone visit it. Samar prides himself on not taking sexual advantage of the female tenants, as did his predecessor.

Zohar Segal is (or plays) an aged courtesan, now retired. She explains the workings of the Pavan Pool complex while preparing a spicy pickle recipe.

The apartment block is home to hundreds of people, sleeping more than ten to a room with many more encamped in hallways and on the roof. The women that do all of the work earn most of the money. The occasional male musician is an exception to the rule, as most of the men gamble, lollygag and pimp for a living.

The courtesans are primarily entertainers who dance and sing for casual male callers. On any given night the guests have their choice of many rooms to visit. Younger dancers who put modern moves into their routines or sing songs from the movies fill rooms with admirers, while more traditional entertainers play to empty chambers. The men dole out money to the courtesans in generous tips. We are told that in many cases their families back home are alone and unfed.

Segal explains that giving birth to a pretty girl child in the Pavan Pool is a blessing. One beautiful girl often provides support for an entire family, whereas boys tend to join the shiftless gamblers and drug users down in the patio. An attractive boy may wear clothing paid for by several admiring courtesan girlfriends.

Pavan Pool complex has a curfew but the docu stresses that the entertainment often moves elsewhere after hours, and it is well known that many courtesans also work discreetly for sexual favors. Segal talks about being the kept woman of a rich man when she was barely a child. We see what looks like an arranged marriage being negotiated between a girl of perhaps fourteen and a man of at least seventy.

With its music and dance performances The Courtesans of Bombay would be a stunning documentary if it distinguished between authentic material and staged content. Even though there may literally be no difference, we have to trust the filmmakers as to the accuracy employed. The Merchant-Ivory team has a reputation beyond reproach, but doubts are raised by obvious staged content such as two courtesans sneaking messages to a shared boyfriend. The film lists a costume designer, a credit we don't expect to see on a documentary.

Home Vision's DVD of The Courtesans of Bombay is a good encoding of a 16mm show shot for England's BBC 4 television; the image is somewhat soft and the colors pale. The soundtrack is very clear, however.

The disc's extra is a second one-hour documentary of equal interest, The Street Musicians of Bombay by Merchant-Ivory's house composer Richard Robbins. It stems from his experiences in Bombay watching street musicians, and is simply a lengthy look at the city's many street beggars and their elaborate musical acts, from a solitary boy singing a song about his faraway province to a man who attracts attention with baskets of deadly snakes. There is also a colorful group of self-castrati who describe themselves as neither male nor female. They are seen entertaining a rich family celebrating a new child and put on a fine show complete with funny songs about the pregnancy experience and (of course) the noble trait of generosity.

For more information about The Courtesans of Bombay, visit Home Vision Entertainment. To order The Courtesans of Bombay, go to TCM Shopping.

By Glenn Erickson

The Courtesans of Bombay

The Merchant-Ivory-Jhabvala filmmaking team took a break from features to produce this semi-documentary peek inside a hidden corner of Indian culture, the 'courtesans' of a large apartment block called Pavan Pool, circa 1983. The 16mm camera takes an ethnographic interest in every detail of life in Pavan Pool, combining straight documentary footage with staged material. Well-known actor Saeed Jaffrey appears as not himself but an anonymous part-time film actor who likes to attend performance nights at Pavan Pool. He often addresses the camera directly to explain what we're seeing. Two other less familiar actors also take turns narrating parts of the minimalist story. Kareem Samar plays a rent collector with the unenviable task of trying to make the residents pay. He balances their endless excuses with mostly toothless threats, as the absentee landlord would never stoop to admit that he owned the property, let alone visit it. Samar prides himself on not taking sexual advantage of the female tenants, as did his predecessor. Zohar Segal is (or plays) an aged courtesan, now retired. She explains the workings of the Pavan Pool complex while preparing a spicy pickle recipe. The apartment block is home to hundreds of people, sleeping more than ten to a room with many more encamped in hallways and on the roof. The women that do all of the work earn most of the money. The occasional male musician is an exception to the rule, as most of the men gamble, lollygag and pimp for a living. The courtesans are primarily entertainers who dance and sing for casual male callers. On any given night the guests have their choice of many rooms to visit. Younger dancers who put modern moves into their routines or sing songs from the movies fill rooms with admirers, while more traditional entertainers play to empty chambers. The men dole out money to the courtesans in generous tips. We are told that in many cases their families back home are alone and unfed. Segal explains that giving birth to a pretty girl child in the Pavan Pool is a blessing. One beautiful girl often provides support for an entire family, whereas boys tend to join the shiftless gamblers and drug users down in the patio. An attractive boy may wear clothing paid for by several admiring courtesan girlfriends. Pavan Pool complex has a curfew but the docu stresses that the entertainment often moves elsewhere after hours, and it is well known that many courtesans also work discreetly for sexual favors. Segal talks about being the kept woman of a rich man when she was barely a child. We see what looks like an arranged marriage being negotiated between a girl of perhaps fourteen and a man of at least seventy. With its music and dance performances The Courtesans of Bombay would be a stunning documentary if it distinguished between authentic material and staged content. Even though there may literally be no difference, we have to trust the filmmakers as to the accuracy employed. The Merchant-Ivory team has a reputation beyond reproach, but doubts are raised by obvious staged content such as two courtesans sneaking messages to a shared boyfriend. The film lists a costume designer, a credit we don't expect to see on a documentary. Home Vision's DVD of The Courtesans of Bombay is a good encoding of a 16mm show shot for England's BBC 4 television; the image is somewhat soft and the colors pale. The soundtrack is very clear, however. The disc's extra is a second one-hour documentary of equal interest, The Street Musicians of Bombay by Merchant-Ivory's house composer Richard Robbins. It stems from his experiences in Bombay watching street musicians, and is simply a lengthy look at the city's many street beggars and their elaborate musical acts, from a solitary boy singing a song about his faraway province to a man who attracts attention with baskets of deadly snakes. There is also a colorful group of self-castrati who describe themselves as neither male nor female. They are seen entertaining a rich family celebrating a new child and put on a fine show complete with funny songs about the pregnancy experience and (of course) the noble trait of generosity. For more information about The Courtesans of Bombay, visit Home Vision Entertainment. To order The Courtesans of Bombay, go to TCM Shopping. By Glenn Erickson

Quotes

Trivia

Miscellaneous Notes

Released in United States Spring March 19, 1986

Released in United States Spring March 19, 1986