Roshan Seth Movies

Following his successful foray into swashbuckler comedy with The Three Musketeers and The Four Musketeers, director Richard Lester made what has proved to be one of the few quality films from the disaster craze that dominated filmmaking in the mid-'70s. Juggernaut is the pseudonym of a madman (Freddie Jones) who plants several steel drums aboard a luxury liner and calls the company's officials once the boat has put out to sea, demanding a large sum of money in exchange for instructions on how to defuse bombs inside the drums. Anthony Hopkins plays one of the company officials whose wife and children are aboard the ship, Omar Sharif is the ship's captain, Shirley Knight is a passenger who is also his mistress, and Richard Harris and David Hemmings are two members of the bomb disposal team, which is helicoptered onto the ship to defuse the explosives. As in many of Lester's best works, humor pops up in unexpected places; particularly memorable are Harris as the weary but wisecracking top dog among the explosives experts and Lester regular Roy Kinnear as a bumbling entertainment director desperately trying to distract the apprehensive passengers. ~ Tom Wiener, All Movie Guide

A Passage to India, director David Lean's final film (for which he also received editing credit), breaks no new ground cinematically, but remains an exquisitely assembled harkback to such earlier Lean epics as Doctor Zhivago and Ryan's Daughter. Based on the novel by E. M. Forster, the film is set in colonial India in 1924. Adela Quested (Judy Davis), a sheltered, well-educated British woman, arrives in the town of Chandrapore, where she hopes to experience "the real India". Here she meets and befriends Dr. Aziz (Victor Banerjee), who, despite longstanding racial and social taboos, moves with relative ease and freedom amongst highborn British circles. Feeling comfortable with Adela, Aziz invites her to accompany him on a visit to the Marabar caves. Adela has previously exhibited bizarre, almost mystical behavior during other ventures into the Indian wilderness: this time, she emerges from the caves showing signs of injury and ill usage. To Aziz' horror, he is accused by Adela of raping her. Typically, the British ruling class rallies to Adela's defense, virtually convicting Aziz before the trial ever begins. Though he is eventually acquitted due to lack of evidence (in fact, director Lean never shows us what really happened), Aziz is ruined in the eyes of both the British and his own people-as is Adela. Woven into these proceedings is a subplot involving Adela's elderly travelling companion Mrs. Moore (Peggy Ashcroft), who through a series of plot twists too complex to describe here becomes a heroine of the Indian Independence movement. A Passage to India was nominated for several Academy Awards, scoring wins in the categories of Best Supporting Actress (Peggy Ashcroft) and Best Original Score (Maurice Jarre). A theatrical version of A Passage to India, written by Santha Rama Rau, was previously adapted for television by the BBC in the mid-1970s. ~ Hal Erickson, All Movie Guide

After the death of his wife and his subsequent descent into alcoholic near-agoraphobia, a crotchety Pakistani intellectual convinces his shady entrepreneur brother to provide work for his son in this multi-layered portrait of the immigrant experience in Great Britain. Young Londoner Omar (Gordon Warnecke) isn't sure what he wants out of life, but his uncle Nasser (Saeed Jaffrey) provides a corrupt, capitalist role model as Omar graduates from washing cars for the old crook to running his run-down laundromat. After a chance meeting with Johnny (Daniel Day-Lewis), an old school chum whose flirtation with fascism deeply wounded Omar's principled Papa (Roshan Seth), Omar hires the young thug to work for him. Soon, the pair begin a romantic relationship that remains as under-wraps as the illicit drug-running and enforcement work they perform for Nasser's associate, Salim (Derrick Branche). On the domestic front, Omar must balance his knowledge of Nasser's long-running affair with posh Brit Rachel (Shirley Ann Field) with his own loyalty and attraction to Nasser's Westernized daughter, Tania (Rita Wolf). After successfully transforming his laundrette into a vision of resplendent pastel suds and providing a bright spot in his otherwise sqalid London neighborhood, Omar seems to have a bright future in Nasser's organization. The spectre of Johnny's past, however, combines with Omar's conflicted immigrant loyalties to threaten the sense of identity the young man has managed to stake out for himself. British-born, half-Pakistani playwright and novelist Hanif Kureishi won an Oscar nomination for his screenplay for My Beautiful Laundrette, which was originally filmed for BBC television. Kureishi collaborated again with director Stephen Frears on Sammy and Rosie Get Laid. ~ Brian J. Dillard, All Movie Guide

Little Dorrit was intended as the cinematic equivalent to the mammoth, eight hour Royal Shakespeare Company's staging of Dickens' Nicholas Nickelby. The film was released to theatres in two parts, each running approximately three hours. The first part, subtitled "Nobody's Fault," introduced us to the seamstress title character (Sarah Pickering), who chooses to live in debtor's prison with her father (Alec Guinness). Good samaritan Derek Jacobi endeavors to help both father and daughter. The second part, also known as "Little Dorrit's Story," details Dorrit's escape from penury to lasting happiness. Eschewing the usual 19th century-style British music often heard in Dickensian adaptations, director Christine Edzard creatively-and effectively--opts for the strains of Giuseppe Verdi. Edzard's eye for period detail is also deserving of unbounded praise. Unfortunately, Part Two of Little Dorrit spends nearly half of its running time recapping Part One, utilizing much of the same footage. For those familiar with "Nobody's Fault," "Little Dorrit's Story" is more a redundancy than a continuation. Still, taken together, parts one and two all fully deserving of the enthusiastic critical commentary that greeted them upon their original release-not to mention the multiple Academy Award nominations bestowed upon the project and its participants. ~ Hal Erickson, All Movie Guide

In a post-apocalyptic world, a fugitive named Byron (Bob Peck) is captured by cop Will Tasker (Mark Hamill) and his beautiful partner Belitski (Kitty Aldridge). But when bounty hunter Matt Owens (Bill Paxton) learns that there is a price on Byron's head, he tricks the police and absconds with the prisoner. In order to escape detection, Matt flies off into the slipstream --an environmental curiosity of high and harsh winds treated by a local religious cult as a god. The religious cult captures them and holds them captive. Byron has healing powers and the cult decides to bind him up to a giant kite in order to determine whether he is a good or bad spirit. Tasker and Belitiski re-appear and they free Matt after he agrees to help them get the kite-born Byron back down to earth. Matt flies upward to free Byron, but Belitski, not trusting Matt, flies upward herself. A violent wind tosses all three into parts unknown, while Tasker is almost killed by the kite. Matt is found to have been poisoned by Tasker and seeks to accompany a cave dweller named Ariel (Eleanor David) to her homeland, where he can get an antidote to the poison in his veins. Meanwhile, Byron is revealed to be an android. The three journey to a settlement dedicated to sensual pleasure. While they partake of the services, Tasker and Belitski shoot their way into the settlement, looking for Byron. ~ Paul Brenner, All Movie Guide

In this docudrama based on true events, a mid-'80s Michigan housewife finds her life turned upside down when a vacation to Tehran with her Iranian husband turns into virtual imprisonment for her and her young daughter. Betty Mahmoody (Sally Field) is reluctant to visit the wartorn homeland of her doctor husband, Moody (Alfred Molina). But, depressed about the racism of the American medical establishment and pining for contact with his family, Moody convinces her to join him for a two-week jaunt. The Islamic fundamentalism and strange customs of Iran bewilder and frighten Betty and her daughter, Mahtob (Sheila Rosenthal). But nothing prepares her for Moody's announcement that the family will be remaining in Tehran indefinitely. Despite beatings and more pervasive psychological control from her husband and his relatives, Betty makes it to the Swiss embassy (there is no American ambassador at the time). There, she learns that as the wife of an Iranian, she is now automatically considered a citizen and that she has absolutely no parental rights over Mahtob in this country. Betty then endures several years as a virtual prisoner, escaping only with the help of Westernized Iranian friends. Based on the book by the real-life Mahmoody and William Hoffer, Not Without My Daughter was coincidentally released during the long build-up to 1991's Gulf War. ~ Brian J. Dillard, All Movie Guide

Mississippi Masala is a tale of how prejudice makes victims and instigators of us all. In 1972, Indian Jay (Roshan Seth), a resident of Uganda, is forced by the bigoted Amin regime to take his family and flee the country. He vows to hate and distrust all blacks--at least until he is able to reclaim the real estate stolen from him by the Ugandan government. Flash-forward to 1990: Jay and his family have settled in Mississippi. Seth's daughter Mina (Sarit Choudhury) makes the acquaintance of African-American Demetrius (Denzel Washington), the prosperous manager of a carpet-cleaning business. At first attracted to Mina because he is fascinated by her African background, Demetrius slowly falls in love with her. The situation causes Jay to exercise the same racial prejudice by which he was himself victimized. Ironically, Demetrius behaves just as foolishly, blaming Jay's ethnic chauvinism for a drop in his business. Both Jay and Demetrius must learn to bury their pasts and their prejudices to go on with their lives. ~ Hal Erickson, All Movie Guide

For those who have been there, India can be a bureaucratic nightmare, where odd and arbitrary rules are capriciously enforced by a whimsical and occasionally quite greedy series of authorities, some of them self-appointed. The situation can be considerably worsened when an honest official comes into office, a man who believes that all that country's many rules and laws should be enforced all the time. In this story, the main business of a group of former aristocrats living in central India is leading tours into a national park and re-enacting the lifestyles of colonial India. However, this has only been possible because the park's officials applied its rules with some sense of perspective. In this wry and leisurely comedy, the worst possible disaster has struck: a small-minded and very honest official has just gotten posted to the position of park director, and he is bent on following the letter of the law. ~ Clarke Fountain, All Movie Guide

In the new tradition of "Tales of the City," this long, complex British satire profiles a decade in the life of a British family. The story opens in a South London suburb where main protagonist Karim Amir lives with his Indian father, Haroon, and his English mother during the 1970's. Haroon is a civil servant who makes extra cash, and gains notoriety for teaching "Eastern Philosophies," of which he knows nothing. Still, as Buddhism is in fashion, people pay him a bundle to hear his vapid, happy ramblings. When not preaching, Haroon is trysting with a rich follower, Eva Kay. Karim's mother learns of the affair and leaves with his younger brother. Karim stays with his father and his new love. He begins a career on the stage. The story also follows Charlie, Eva's boy as he aspires to become a rocker. Other plots and subplots abound in this film. ~ Sandra Brennan, All Movie Guide

Based on the popular video game Street Fighter II, Street Fighter stars Jean-Claude Van Damme as Col. Guile, the cocky but brave leader of an Allied Nations fighting force. When the evil General Bison (Raul Julia), the power-mad leader of Shadaloo, kidnaps a bus full of Allied Nations relief workers and holds them for a multi-billion dollar ransom, Guile and his team are sent in to do battle with Bison; aiding Guile is intrepid TV journalist Chun-Li (Ming-Na Wen), while a pair of con men (Damian Chapa and Byron Mann) try to play both sides against the middle for their own purposes. Raul Julia died of cancer shortly before the film was released. ~ Mark Deming, All Movie Guide

The quartet of short films for this British anthology, compiled by Women Make Movies, were all made for the British Film Institute and BBC Films in 1994. The central theme unifying them is death. In the first short, "White Men Are Cracking Up," from Ngozi Onwurah, several prominent British colonialists commit suicide. The detective assigned to the cases investigates and discovers that each of the deceased saw an enigmatic African woman perform a traditional dance. Pratibha Parmar directed the second vignette "Memsahib Rita," to chronicle the internal culture class suffered by a London girl with a British mother and a Sri Lankan father. In Dani Williamson's "Get Me to the Crematorium on Time," a recently widowed middle-aged, financially comfortable black woman struggles to keep her sanity while trying to cope with her husband's death, finding comfort only by conversing with his ghost. Finallyj, in Frances-Anne Solomon's "Bideshi," a comatose middle-aged man from Bengal attempts to put his life affairs in order before leaving his injured body. His life flashes by in brief episodes beginning with his emigration to Britain. He then sees his daughter's birth and from there watches as she rebels, grows distant and prepares to have a black man's child, something that has caused a great rift between father and daughter. Still while drifting in sleep, the Bengali sends his spirit forth to make peace with her. ~ Sandra Brennan, All Movie Guide

A New Yorker, an Australian, and an Englishman return to their birthplace, Bombay India, in hopes of finding their identities and reorganizing their lives. All three arrive at the same time and end up sharing the same flat. Krishna, the American, has come back in hopes of launching a successful acting career in movies. He gets his big break when local gangster-turned-producer Matsana hires Krishna to appear in a musical extravaganza. Kris has no idea that Matsana desperately wants the movie to flop so he can reap big profits. The Englishman Xerxes is a flautist wrestling with his sexual identity. He knows that he is gay but is having trouble deciding whether or not to be open about it. The lonely apartment owner Persi is definitely homosexual and finds himself attracted to Xerxes. The third roommate, former Sydney resident Fernandes, has come to Bombay to search for his estranged brother. A complex mixture of slapstick, violence and sentiment coupled with a spoof on Indian masala movies, the film follows the three disparate protagonists as lives collide and split apart in increasingly chaotic ways. The first feature of NYU Film School-trained Kaizad Gustad, the film casts an eye upon the Bollywood (Bombay-based Indian Hollywood) film industry via an "A"-rate gangster and a "B"-Grade producer. The whole point is to show that India is not what it is supposed to be. Mobile phones have replaced Mantras, and Coca-Cola has taken over Karma. Bombay Boys has received attention in Toronto, Vancouver and London Film Festivals, but its real success is bound to be in the circuit it parodies, namely the commercial Bollywood cinema. ~ Sandra Brennan, All Movie Guide

Family differences and personal grudges add drama to an already tense situation as the lives of a team of mountain climbers hang in the balance in this action drama. Peter Garrett (Chris O'Donnell) and his sister Annie (Robin Tunney) are the children of Royce Garrett (Stuart Wilson), an avid outdoorsman and climbing enthusiast who died when an accident left all three hanging from a single rope; Royce ordered Peter to cut him loose to save the lives of his kids, even though he knew it would mean his death. Years later, Peter has given up climbing and become a respected nature photographer, while Annie, who holds Peter responsible for her father's death, is a famous world-class mountain climber who is hired by Elliot Vaughn (Bill Paxton), a self-made billionaire, to help him scale K2, a mountain in the Himalayas that's the second-highest peak in the world. In the midst of the climb, dangerous weather strikes, and Elliot, Annie, and their crew find themselves trapped in a cavern that's been sealed tight by an avalanche. Peter, who is near K2 working on an assignment, quickly organizes a crew of expert climbers to save Annie and the other mountaineers, who must work under a tight deadline before the trapped climbers run out of air. Peter's partners in the rescue include beautiful medic Monique (Izabella Scorupco), radical climbers Cyril (Steve Le Marquand) and Malcolm (Ben Mendelsohn), disciplined Pakistani crewman Kareem (Alexander Siddig), and Montgomery (Scott Glenn), an eccentric outdoorsman who has a score to settle with Elliot. While backgrounds were shot on location in Pakistan, most of the climbing sequences in Vertical Limit were actually filmed on mountain ranges in New Zealand. ~ Mark Deming, All Movie Guide