
My first memory of Brit Asian actress Archie Panjabi is of her in East in East and pigtails, kicking a soccer ball around the back yard. I next saw her burnishing her Asian cred as the bride in Bend It Like Beckham. So it was a pleasant surprise when she popped up in The Constant Gardener, a John Le Carré thriller adapted for screen by the director of the wonderfully fluid City of God.
Like Sarita Choudhury in A Perfect Murder, Panjabi plays yet another desi Tonto. Her character Gita, a member of the British High Commission in Kenya, is sidekick and confidante to Tessa Quayle, played by lovely, googly-eyed Rachel Weisz in a mummy suit. Ralph Fiennes’s self-effacing diplomat spends the movie decoding his wife Tessa’s secret life and eventual assassination. His British accent turns ‘Gita’ into the German ‘Gitte’; in the screen credits it’s massacred again as ‘Ghita,’ acolyte of ghee. Aside from the appellation snafu, Panjabi gets to turn up in a sari and plays the vulnerable diplomat quite serviceably.
The movie itself suffers in comparison with City of God. It’s just as long (around 2:10) but not nearly as light on its feet: blame the patient English for that. It’s a Big Pharma conspiracy theory intercut with an ad for Africa aid. Several passages are filmed in grainy Primer green with buzzing fluorescent lights and very un-starlike blood and grime. Other passages are stylistically familiar, filmed in extreme close-up with a shaky, handheld camera, the colors supersaturated and grainy. Fernando Meirelles turns a lake bed into red and blue abstract art. The couple-play is as natural as can be expected when the stiff English mate in a Calvin Klein linen closet; unlike Meirelles’ earlier film, by the end the protagonists have been thoroughly sainted.
Also unlike the kinetic CoG, this one takes the notion that movies should start with a bang and turns it on its head. The rest of the film keeps up that languid pace, so all the ad blurbs claiming it to be a thriller are overblown, to put it kindly. On one level, the über-boring title is truth in advertising; slack pacing is the enemy at these gates. On another, this is a visually inventive and deeply serious movie about the cat’s cradle between Western governments, African corruption and MNCs, with ordinary Africans caught in the middle — not to mention a posthumous, detective-story romance.
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Ithought of the movie when I heard how a femme fatale penetrated the British High Commission in Islamabad:
Britain has removed its defence attaché in Pakistan… Red-faced and tight-lipped British officials said they were not ready to provide any details… Durcan had been recalled because he had been “tricked into a close friendship by the attractive woman”… But it described the woman as a “defence academic” who was “also believed to be an undercover agent for rogue elements within Pakistan’s intelligence services”. [Link]
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