Kama Sutra: A Tale of Love is a 1996 Indian historical erotic romance film co-written, co-produced, and directed by Mira Nair. The first portion of the film is based on "Utran" ("Hand Me Downs"), a short story in Urdu by the Indian writer Wajida Tabassum.[3] The film takes its title from the ancient Indian text, the Kama Sutra. It stars Naveen Andrews, Sarita Choudhury, Ramon Tikaram, Rekha, and Indira Varma.[4] The English-language film was produced by Indian, British, German and Japanese studios.
Declan Quinn won the 1998 Independent Spirit Award for Best Cinematography for his work in the film.[5] Kama Sutra was nominated for the Golden Seashell award at the 1996 San Sebastin International Film Festival and was screened at the Cannes Film Festival.[6] The film generated controversy at the time of its release and was banned in India due to its erotic theme and sexual content.[7][8]
Kamasutra 1996 Hindi Movie Cast
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Introduction:
Kama Sutra: A Tale of Love is a mesmerizing and sensual film that takes viewers on a journey through ancient India. Released in 1996, this period drama explores the complexities of love, desire, and power through the lives of its captivating characters. In this article, we will delve into the cast of this cinematic gem, which has left an indelible mark on viewers around the world.
Conclusion:
Kama Sutra: A Tale of Love (1996) remains an enthralling exploration of desire, love, and power. The exceptional performances from its talented cast, combined with its visually stunning cinematography, have made it an unforgettable cinematic experience. Despite facing controversies, the film continues to captivate audiences worldwide, leaving an indelible mark on the history of Indian cinema.
Indiana Varma is married to Colin Tierney. The two got married in 1996 in a private wedding, where only close family and friends were invited. Colin is also an actor, and the two met at an event they had both attended and eventually fell in love. This lovely couple resides in Hornsey in North London with their daughter, and they are a true example of real love exists.
Before I answer that question, let me tell you the plot. This movie is the lives of two women. One woman is a rich princess and the other is a daughter of a dead courtesan. The princess and the daughter of the courtesan grow up and follow two very different paths. The princess, despite being not as sexual or traditionally beautiful as her friend, gets engaged and marries the shah (which is the equivalent to a king). But the shah lusts after her friend and she seduces him on their wedding night. Because of this she is cast out of the palace and she wanders the countryside. While she is traveling, she meets a sculptor who marvels her figure. They develop an artist and model relationship while she stays in a boarding house of a Kama Sutra instructor. The relationship goes sour, so she decides to learn the Kama Sutra in order to become a palace courtesan. When she comes back to the palace, she becomes the main courtesan of the shah while he descends into opium and sex addiction. Meanwhile the sculptor comes changes his mind and chases after her. They restart their relationship and a love triangle forms.
The third canto culminates in the anticipated encounter betweenSiva and Parvati and the subsequent death of the god of love. In this highlycharged moment proper to the dramatic encounter between Siva, who is lurkingbehind his tapasvin mask, and Parvati the poet's poetic language and thechoices of tropes are by no means arbitrary. Take for example the wayKalidasa captures her in verse 3.56, the moment she enters the ascetic grove.Parvati enters into the asrama her eyes agitated in confusion(sambhramaloladrstih), warding off with her play-lotus (lilaravinda) a beehovering near her bimba-like lower lip (bimbadhara), its thirst increased byher fragrant breath (sugandhinihsvdsa-vivraddhatrsnam). To the thirsty beeParvati is the embodiment of vegetal paradise with its bimba-like lower lip.Parvati is protecting herself from the invasiveness of the (male) bee with aplay-lotus. Then, in verse 3.67 Kalidasa tells us that the moment Siva cameout of his yogic meditation he casted his eyes on her bimba-like lower lip(bimbaphaladhara). The bee motif and the connection with Siva cannot bemissed. The bee buzzes around Parvati's lips, flirting with her, thirstyfor her fragrant breath, just as Siva. Unlike the Karnikara flower which isnirgandha, Parvati is sugandha and she can lure the rasika out of his comfortzone. Her fragrant breath brings Siva out of his (aesthetic) meditation tovirtually flirt with the woman that arouses his aesthetic feeling and to tryand close that aesthetic gap which pains, or burns, the mind. Let us examinethe way Kalidasa describes the consequences of this suggested act offlirtation which results in Siva's disturbance. Parvati approachesSiva's exactly at the moment he reaches the trance-like experience--oftotal wholeness and otherness:
According to O'Flaherty, the burning of Kama is the victoryof Kama over Siva and thus the very act of burning is erotic in essence(O'Flaherty 1973, pp. 241-271). Remember that the burning of Kama hasnothing to do with Kama, since Kama did not even shot Siva with his arrow.So, how can we interpret Siva's fire in the context of the rasika'spsychological change? When Rati lament the death of Kama in the fourth canto(4.6) she compares the breaking up of their love (bhinnasauhrdah) bySiva's fire to a torrent of water breaking through a dam(ksatasetubandhanah) and casting aside a lotus. While Siva's shooting offire in the third canto inflicts the same result of making Kamairretrievable, the water image in the fourth canto contrasts with that offire. Somehow, if we take Siva's shooting fire as a symbol of histapasic erotic fire, the latter outburst of water is not unsuitable as a morerealistic translation of the orgasmic act--Siva's ejaculation. Afterall, in 3.67, the slight disturbance that triggers Siva's awakening isdescribed as "like the ocean at the rise of the moon". Even the wayKalidasa describes Rati's reaction to Siva's fire suggest this sameinterpretation: her senses (indriya) stopped functioning (samstambhayata)owing to the swoon that results from this intense blow (tivrabhisanga) (27)
It seems that Siva has already lost the contest with Parvati fromthe very moment he appears in front of her, praising her dharma (or, perhaps,mocking it?). In verse 5.45 when Siva asks Parvati whether she is seekingheaven or husband through her tapas, he tells her that a jewel should notseek, it is sought (na ratnam anvisyati mrgyate hi tat). The samejewel-imagery is used by Siva in verse 5.43. There he says to Parvati that"nor can a stranger touch you. Who would stretch out his hand for aserpent's sharp-edged jewel?" (pardvamarso na kah karam prasarayetpannagarat-nasucaye) (Smith's translation). Remember that Siva askedParvati not to treat him as a stranger (5.39). In one sense Parvati is thejewel, the erotic emblem that Siva should be seeking, however her tapas canbe as dangerous as the touch of a serpent. And that is why Parvati is herselfseeking and is not sought, not even by the stranger, Siva, who will bemarrying her. The jewel imagery reveals to us Parvati's potential dangeras an actual lover in the mind of Siva. More so, Parvati's love of Sivahas nurtured within her feelings of resentment and anger toward him. Shecursed him secretly, in her mind, saying: "how do you not know thefeeling of this person (na vetsi bhavastham imam janam katham, 5.58)?"Indeed, Siva as a rasika does not want to know the feelings of Parvati, butonly to foster his own from behind the mask. This is so because afterParvati's friend finishes describing Parvati's lovesick mood, thebrahmin student reacts to her words in a very sarcastic and ironical way,asking Parvati, without showing any signs of joy (avyanjitaharsalaksanah):"is this a joke" (apidam evam parihasa iti, 5.62)?
(28) See, e.g., KS 4.8 and 4.17. The verbal root [square root ofsmr] combines the two meanings of smara as "desire, love, kama" andas "memory". On the relation between desire and memory, seeMalamoud (1996, pp. 247-258) and Miller (1984, pp. 38-41). be457b7860
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