Racialicious Crush Of The Week: Mira Nair

By Andrea Plaid

Having watched several of Mira Nair’s films repeatedly, I swear her guiding directive is, “If you’re 1) brown,  2) grown, and 3) sexy, you need to be in my film.”

From Mississippi Masala and Kama Sutra: A Tale Of Love to Monsoon Wedding and The Namesake, Nair frames brown people in complicated and mostly saturated palettes of love, be it falling in love with and making love with a person, being bitterly ripped away from a beloved country or person, standing firm in love against someone who damaged a family member, and/or rekindling love for one’s legacy–in Nair’s films, several of these things tend to happen in one film. And she has cast some the sexiest actors of color in her flicks, including Denzel Washington, Naveen Andrews, Sarita Choundhury, Rekha, Indira Varma, Irrfan Khan, Zuleikha Robinsonand Ramon Tikaram. Honestly, I wouldn’t have looked around at Kal Penn if it wasn’t for The Namesake.

Even  my own love for Nair’s aesthetics is a little complicated: watching her adaptation of William Makepeace Thackeray’s Vanity Fair I completely understand why she “browned up” the film with richly colored and detailed costumes and having the characters speak of and traveling to India; it was a visual reminder of Britain’s long colonialization of the nation. So often, such novels get the Masterpiece Theater/Downtown Abbey hermetic whiteness treatment, devoid of any context of Rule Brittania that existed due, in no small part, to the country’s deadly takeover of countries of color. But I had a hold-the-fuck-up pause at the “exotic dance” Becky Sharp and some of the other white gentried women do at a private party for Sharp’s benefactor when someone pointed out to me that the music used was an anachronism: 19th-century British Sharp and the other dancers wouldn’t have danced to Hakim’s “El Salam” because it’s an Egyptian pop song from the ’00s (as in the 2000s, not the 1900s or earlier decades). However, the other argument could be–considering that Britain also colonized Egypt while it colonized India–Nair wants to show the audience that, for the white British gentry, India and Egypt are all part of an Orientalist piece to their ways of thinking.

Nair was born and grew up in a middle-class Punjabi household in the Indian state of Orissa as the nation itself was a decade out from the British officially leaving there. She studied sociology at Delhi University as well as participated in political street theater and an amateur acting troupe. She moved to US when she was 19 due to winning a scholarship to Harvard University, where she met Sooni Taraporevala, her longtime screenwriter. She stayed with her sociology studies.

I think Nair brings her sociological training to her films. As intimate as they are–Nair rejected directing Harry Potter And The Order Of The Phoenix because she said she was “better suited to emotions, human beings, and less interested in special effects“–they’re also stories of a group of people moving with, through, and against social structures and relationships and their attendant agreements, be that structure a deal-with-the-devil agreement with a rich benefactor in 19th-century England; marriage, polyamory, and polygamy in 16th-century and 20th-century India; immigration and assimilation in 21st century New York City; kyriarchy among people of color in late 20th-century Mississippi. And her style of intimate group studies have earned her all sorts of accolades and awards, including an Academy Award nod for the film-class standard Salaam Bombay! in 1989 and India’s third highest civilian honor, the Padma Bhushan, in 2012.

And Nair pays the wealth of her filmmaking experience forward: she not only instructs future filmmakers at Columbia University, she also founded Maisha Film Lab, where East Africans and South Asians learn how to make films–the lab’s headquarters is located in Nair’s adopted home of Kampala, Uganda, and has sites in Kenya, Rwanda, and Tanzania. Nair also took the earnings of Salaam Bombay! and started Salaam Baalak Trust, an organization for India’s homeless children.

I think Maisha Film Labs’ motto sums up Nair’s filmmaking ethos: “If we don’t tell our stories, no one else will!” Including stories of sexy and grown brown folks just trying to make it in this world.

 

About This Blog

Racialicious is a blog about the intersection of race and pop culture. Check out our daily updates on the latest celebrity gaffes, our no-holds-barred critique of questionable media representations, and of course, the inevitable Keanu Reeves John Cho newsflashes.

Latoya Peterson (DC) is the Owner and Editor (not the Founder!) of Racialicious, Arturo García (San Diego) is the Managing Editor, Andrea Plaid (NYC) is the Associate Editor. You can email us at team@racialicious.com.

The founders of Racialicious are Carmen Sognonvi and Jen Chau. They are no longer with the blog. Carmen now runs Urban Martial Arts with her husband and blogs about local business. Jen can still be found at Swirl or on her personal blog. Please do not send them emails here, they are no longer affiliated with this blog.

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  • kari

    Thanks now I know more about the person behind some of my all time favorite movies!

  • Rita

    Mira Nair has long been one of my favorite directors. Thanks for the background on her!

  • embdowns

    I enjoy watching her films because she does tell a story about human beings. Her films are emotional without being sappy and even in despair there is a glimmer of hope.

  • Kat

    I LOVE Monsoon Wedding! So wonderful. I have to definitely watch Mississippi Masala finally. Question: Given that Nair now has a home in Uganda, when (year, decade) were Indians allowed back to Uganda?