Last weekend I saw Inside Man, currently the top movie in America. In Spike Lee’s excellent caper mystery, actor Waris Singh Ahluwalia explains the significance of the Sikh turban, covering your head in the presence of god, to the largest American audience to date. It’s very cool of Lee to carve out screen time for this exposition, and more such movies might reduce Sikh harassment in America.
On the other hand, Denzel Washington’s rejoinder (‘Bet you can catch a cab…’) feels like shuffling, not dancing. I didn’t catch Ahluwalia’s smack-back because the audience was laughing too hard at the turban-cabbie joke. Ick. Ahluwalia gets the lion’s share of the desi actors’ screen time. Reena Shah has a couple of seconds as a hostage, and Jay Charan is barely seen as a bank teller.
The movie opens with ‘Chaiyya Chaiyya‘ from Dil Se, and Punjabi MC raps over an orchestra-enhanced mix during the closing credits. The inclusion of ‘Chaiyya’ has nothing to do with Hindi samples in hip-hop or Bombay Dreams — Lee draws directly from the source (thanks, mallika). At some point desi influence in American pop culture will melt in so thoroughly, it won’t even be worthy of remark. Then the Uighur-Americans will start blogging about how poorly they’re represented in popular American culture. Viva la Uighur Mutiny.
Viva la
Uighur MutinyThe flick reminds me of Gurinder Chadha’s newer movies: it’s a thoroughly commercial film, a bid for mainstream relevance which still shouts out to the brotherhood (minorities, blue-collar workers, Brooklyn and polyglot NYC). It finesses the task of melding social commentary, such as a violent Grand Theft Auto parody, with product placements galore. As unfocused as it is, just one of Lee’s movies gives you more to chew on than three normal Hollywood flicks. Unlike Chadha’s work, Inside Man objectifies women as much as She Hate Me reportedly did, with an extended joke about big tits.