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Authors: Manil Suri
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rim hooted and clapped as he wrapped an arm around my body. As the thunder added its own applause and the engorged clouds lavished us with blessings, Karun towed me to safety.
3
SUPERDEVI RELEASED THAT SUMMER, DELUGING EVEN NON-MOVIE people like us with its hype. The most expensive Indian film ever made, thanks to the backing of both Hollywood and the Indian mafia! Lata M. teams up for her techno comeback with Lady Gaga (who Uma said was a famous pop star)—their title duet rockets to the top of charts worldwide! And up in the sky, a bird, a jet—no, Superdevi herself, zooming overhead behind a prop plane as we sat (and tried to ignore her) on the beach at Chowpatty. Supposedly, the script borrowed extensively from Slumdog Millionaire and Superman (films which neither of us had seen) in telling the story of a young girl from the Mumbai slums with the power to assume different avatars of Devi to fight crime. Uma kept herding us to McDonald’s, which was giving away all nine incarnations from the movie as collectible action figures throughout India (and parts of England and New Jersey), free with food purchases (vegetarian only, so as not to upset Hindu sentiments). She collected eight of the figures, turning off the light at home to show us how they glowed in the dark just like Superdevi. Despite foisting dozens of McAloo Tikki sandwiches on us, however, she never managed to acquire the elusive Kali incarnation (toting her AK- 47 from the final battle scene).
The movie managed to surpass even the most optimistic projections. I read breathless reports in magazines of kids dragging their families to see it three and four and even ten times, of the urban youth of India finding spiritual enlightenment in Superdevi’s incarnation as call center worker to fight tele-fraud, of desis in New York and London and Sydney bringing such gaggles of white friends to screenings that the film quickly spilled over to mainstream international release. A Zee TV program documented how Superdevi wielded its greatest power over rural India, whose citizens experienced it not as movie but as religious odyssey (calling the heroine “Ooper-devi” which translated to “Upper-devi,” in several Indian languages). The reporter followed scores of villagers making pilgrimages from miles around to get the Superdevi’s blessing at a small theater in Ambala, where both fire exits had been converted into Devi shrines for patrons to leave flowers, coconuts, and monetary offerings. A guard stood on stage throughout to make sure audience members didn’t try to touch the Superdevi for her blessing when she appeared on screen. Perhaps the most definitive evidence of the film’s popularity appeared in the calendar art sold on city streets: all the goddesses from Laxmi to Saraswati to Parvati bore striking resemblance to Superdevi’s child heroine Baby Rinky. Even our sand sculptor abandoned his trimurtis in favor of more profitable Devi carvings.
“This is for all the potato sandwiches at McDonald’s,” Uma said as she handed me two tickets for a Saturday matinee at the Metro. “I know neither of you much follows movies, but with Karun’s thing for mythology, it should be interesting.”
Bollywood had dramatically changed since I last looked, because Superdevi had slick production values and expensive special effects, unlike the tacky 1970 s potboilers my mother liked to watch on DVDs. But the plot seemed just as hokey, as preposterous and formulaic, and I wondered what all the fuss was about. I had difficulty keeping Superdevi’s more minor incarnations separate (Cyber Devi, X-ray Devi, and Antibiotic Devi, in particular), though with most of the story revolving around schemes to destroy Mumbai, she appeared for a good part as Mumbadevi.
To my surprise, Karun enjoyed the movie much more than I did—he seemed unperturbed by the frequent suspension of logic, the willful violation of every law of physics. “I wish Baji could have seen it. He
3
SUPERDEVI RELEASED THAT SUMMER, DELUGING EVEN NON-MOVIE people like us with its hype. The most expensive Indian film ever made, thanks to the backing of both Hollywood and the Indian mafia! Lata M. teams up for her techno comeback with Lady Gaga (who Uma said was a famous pop star)—their title duet rockets to the top of charts worldwide! And up in the sky, a bird, a jet—no, Superdevi herself, zooming overhead behind a prop plane as we sat (and tried to ignore her) on the beach at Chowpatty. Supposedly, the script borrowed extensively from Slumdog Millionaire and Superman (films which neither of us had seen) in telling the story of a young girl from the Mumbai slums with the power to assume different avatars of Devi to fight crime. Uma kept herding us to McDonald’s, which was giving away all nine incarnations from the movie as collectible action figures throughout India (and parts of England and New Jersey), free with food purchases (vegetarian only, so as not to upset Hindu sentiments). She collected eight of the figures, turning off the light at home to show us how they glowed in the dark just like Superdevi. Despite foisting dozens of McAloo Tikki sandwiches on us, however, she never managed to acquire the elusive Kali incarnation (toting her AK- 47 from the final battle scene).
The movie managed to surpass even the most optimistic projections. I read breathless reports in magazines of kids dragging their families to see it three and four and even ten times, of the urban youth of India finding spiritual enlightenment in Superdevi’s incarnation as call center worker to fight tele-fraud, of desis in New York and London and Sydney bringing such gaggles of white friends to screenings that the film quickly spilled over to mainstream international release. A Zee TV program documented how Superdevi wielded its greatest power over rural India, whose citizens experienced it not as movie but as religious odyssey (calling the heroine “Ooper-devi” which translated to “Upper-devi,” in several Indian languages). The reporter followed scores of villagers making pilgrimages from miles around to get the Superdevi’s blessing at a small theater in Ambala, where both fire exits had been converted into Devi shrines for patrons to leave flowers, coconuts, and monetary offerings. A guard stood on stage throughout to make sure audience members didn’t try to touch the Superdevi for her blessing when she appeared on screen. Perhaps the most definitive evidence of the film’s popularity appeared in the calendar art sold on city streets: all the goddesses from Laxmi to Saraswati to Parvati bore striking resemblance to Superdevi’s child heroine Baby Rinky. Even our sand sculptor abandoned his trimurtis in favor of more profitable Devi carvings.
“This is for all the potato sandwiches at McDonald’s,” Uma said as she handed me two tickets for a Saturday matinee at the Metro. “I know neither of you much follows movies, but with Karun’s thing for mythology, it should be interesting.”
Bollywood had dramatically changed since I last looked, because Superdevi had slick production values and expensive special effects, unlike the tacky 1970 s potboilers my mother liked to watch on DVDs. But the plot seemed just as hokey, as preposterous and formulaic, and I wondered what all the fuss was about. I had difficulty keeping Superdevi’s more minor incarnations separate (Cyber Devi, X-ray Devi, and Antibiotic Devi, in particular), though with most of the story revolving around schemes to destroy Mumbai, she appeared for a good part as Mumbadevi.
To my surprise, Karun enjoyed the movie much more than I did—he seemed unperturbed by the frequent suspension of logic, the willful violation of every law of physics. “I wish Baji could have seen it. He
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