Love is a lingering suggestion examined through various ages and art forms in Gitanjali Rao’s feature debut Bombay Rose, an exquisite Indian animated film which goes for unabashed melodrama in the story of Kamala and her encounter with the charming but troubled Salim, of Kamala’s sister Tara and her English lessons with Mrs D’Souza, and the old woman’s soothing memories of her own love, trapped in the distant past.
Particularly self-indulgent and prone to poetic meandering, the film is a visual feast of animation techniques and folkloristic inspirations, showcasing Rao’s talent in the result of a tortuous journey to the big screen. The director’s prolonged difficulty in securing funding says a lot about her unconventional work in the context of the Indian film industry, but Bombay Rose is a fine achievement and fulfils the promise of Rao’s award-winning earlier shorts. I met with the director at the 4th edition of the International Film Festival & Awards Macao, where she took part in the International Competition and discussed finding the appropriate pictorial style for each storyline, and her relationship with Indian cinema.
