The Terrorist (1998) User Reviews

Politically involved

[brooz · 7/10 · 26 October 2005]

First, I will note that this movie is way atypical for an Indian movie: 1h30 long (instead of 2h30); no songs; no glamorous encounters that are Fate's will to unite 2 persons; no super Tamil hero;...

This is a movie with hidden political plots.

While no places nor important characters are named, one can find out the utmost realistic background of this movie.

The terror techniques are those of the LTTE: cyanide capsules for not being taken alive, suicide bombers (LTTE invented the explosive belts. Other terrorist groups then reused it), children warriors.

I did not understand that this movie is related to the assassination of Rajiv Ghandi, but after reading such comments, I must agree (the fact that Malli uses a boat to get to her mission location is a clue that it is to happen in India; Tamil Nadu, from the language spoken by the peasants).

When I read some commentators comparing this movie to 9/11, I feel they are wrong: the LTTE terrorism is not about a godly will, but about "freeing" Tamil people living in Sri Lanka.

Other commentators asked why there are some black screens when Malli is thinking hard. Here is my answer: It is related to Vasu's comments about the seed that need to go into the darkness of the earth to evolve from tiny seed to a big tree. It is a rebirth of Malli. This fact is also shown with Malli sleeping more and more in foetal position as the assassination day approaches.

To be understood fully, this movie requires some background about LTTE, Sri Lanka, Cinghalese VS Tamil situation...

While this movie is not in my top ten, it remains a good one. Santosh Sivan proves here courage with a politically engaged movie that is surely unpleasant to (some? many?) Tamil people. Even in the title of the movie being "The terrorist" (instead of something like "the Martyr", "the Hero" and so forth...)

The greatest movie with the least dialogue since silent films.

[Anyanwu · 7/10 · 2 September 2001]

This movie should be seen, if for any other reason than to see a story told with minimal dialogue. The script couldn't have been more than 30 pages. Great visuals, and great acting using expression and editing. The only problem is that the ending should have been cut by about 5 seconds. Once you see it you will know what I am talking about. With little dialogue I was suprised how enthralled I was. I never once remember feeling like the movie should move faster. Worth a view.

A human face on terrorism

[Linda-21 · 8/10 · 8 February 2000]

This is a starkly sad and beautiful film by the Indian filmmaker Santosh Sivan, in the Tamil language with English subtitles. It was shot in 17 days on locations in Kerala and Madras with a cast made up entirely of nonprofessional actors on a small budget.

The theme, however, is large.

The lead character, Malli, exquisitely played by Ayesha Dharkar, is a 19-year old woman who lives in a terrorist camp, fighting for her unnamed country. Her eyes are large and her expressions innocent and strong and even though we see her actively participating in an execution, she wins the audience's heart immediately.

She is honored by being chosen to become a suicide bomber. A very important person will come to the town, she will put a garland around his neck, and blow him and herself up by pushing a button which will ignite the bombs strapped to her body. But will she really do it?

When she leaves the guerilla camp she is led through minefields by a young boy named Lotus. We glimpse the horror of the war through his eyes and his boyish bravery. Then she is taken on a boat to spend a few days with a elderly farmer named Vesu who doesn't suspect her mission. As she dresses for the final event, she is torn with conflict.

By subtle complexities in her acting, the audience is drawn in to Malli's dilemma. However, the director sometimes gets a little too arty, with too many close-ups with raindrops on her face. And, in order to show every single emotion, the action of the story moves too slow for my taste.

However, the beauty of the film lies not as much in the actual story, but in the director's ability to put a human face on terrorism. The mood is somber, the cinematography beautiful and the emotions of the individuals caught up in the drama are captured well.

I recommend this film for serious film buffs only who are willing to incorporate sadness and starkness into their movie-going experience. Others will find it too harsh.

Amazing teaching tool

[cliff-19 · 10/10 · 30 September 2005]

I just finished teaching a course in northern Thailand called "Understanding Cultures Through Cinema." This movie was the favorite of the class (and I had some great titles in there!). The students were very moved by the movie, and wrote great papers in response. This short line is my favorite example: "I liked (reviewer) because (that reviewer) doesn't say whether a terrorist who wanted to sacrifice her life was right or wrong. When your country is controlled by others, you want to have freedom." And this from a young sophomore who loves romantic comedies! Talk about a breakthrough!!! Culturally, the students tuned in to some important aspects that don't get noticed: Malli sharing meals with Mr. Vasu, the important moral role played by Lotus/Sorya, and the visual irony of the belt. I gave them a study guide question: How would YOU end this movie? The answers were poignant, and of course, they all mentioned the prevailing motif (which I won't mention here because that would be a spoiler, yes?).

When I first saw this movie, I gave it 9. After seeing it several times since, and especially seeing the reaction of my Thai students, I gladly raise it to 10. This is one of my top ten movies of all time.

Thinking Bomb

[lou-50 · 16 May 2000]

"The Terrorist" is a non-violent film about violence and the subtlety of its camera work and overall direction might remind you of a travelogue rather than a searing drama about political fanaticism. The film takes place in India and yet we don't have any information on what the conflict is nor do we see the rebel leader whose hand controls all the subversion. That really isn't important but what is important is studying the assassin, Malli, who has so many close-ups that it border on obsession as the filmmakers try to reveal the conflicts she has to resolve in her mind, from her eyes blinking at the drops of rain to her face to face encounter with her lover soldier to her final makeup before meeting her destiny. Three men reveal themselves to Malli at pivotal points and the film underscores it with a technique of keeping the background unfocused until it is called for - the lover soldier who sees Malli as an obscured vision, the boy Lotus who stands too late to see his fate, and the VIP as he is greeted by the young women. Never are explosions seen nor direct killings exposed, we only hear gun shots or the splatter of blood on the murderer's face or the bloodied machete. The film seems to tip its hand by introducing the likeable 'Mad Vasu' and his comatose wife with her outstretched hand of comfort but, in truth, we had no way of anticipating the ending. You might want to compare "The Terrorist" to "Day of the Jackal" or even "La Femme Nikita" but such comparisons would be unfair. "The Terrorist" is a much better film because it allows the audience to unravel the mind of an assassin, in isolation, without the prejudice of killed bodies or self-serving violence. "The Terrorist" is a powerful adventure into the lonely paths of the human soul.

Too Individualized

[jcappy · 7/10 · 8 April 2008]

The strong side of "The Terrorist" is its realism, its weak side is its romanticism. That it has sides that don't integrate is its biggest problem.

Yes, the personal is political, but it should never subsume the political. Important social issues and serious collective structures cannot be reduced to psychology, nor can a specific liberation effort be universalized. Although this Sri Lankan resistance force is viewed rather fairly and quietly for a good while, in the end, it's stereotyped as a manipulative, doctrinaire organization, demanding and glorifying martyrdom. (It's as if the more individualized and symbolic Malli becomes, the more generalized and symbolic of terror the resistance army becomes) But more disturbing is the swallowing up of the content of the actual movement for social justice of an oppressed people. What is it that drives this extreme tactic in the first place. And why isn't this central to Malli's thoughts? And why and how does angst-ridden thinking under such dire circumstances make sense? All the hard training, planning and danger involved in such an action gets eclipsed by all this personal conscience material. And the heavy reliance on close-ups merely underscores this separation of the individual from the collective. As does the over the top symbols engineered through the love story, the pregnancy (sex with a dying soldier is the winner), and the potential birth--of a son (?).

This is not to say Malli's inner life is not important, but rather that it's focused on at the expense of the outward world-bound look that is the pivotal contribution of any social change movement. Who can Malli be or become without this perception of the injustice and inequality endured by her people? This whole yes-no Macbeth kind of thing strips the actual in favor of the universal. What we really want to know about her, but cannot know because of her isolation, is whether she is a part of the resistance, and if so, what will be her participation within it? How does a woman find her place in it? Malli can certainly find a place with Vasu and with the dying rebel because both men are singularly un-male (and lend much to the film). But they are also quite removed from time--one by circumstance, the other by his choice to live outside the greater social fabric, preferring the path of wisdom to the path of history, and thus outside the resistance that Malli is tied to. Imagine a film with Malli and Vasu sparring with each other's opposing positions or philosophies as she prepares for her action--much more interesting I think.

PS The provocatively negative title only reinforces the apolitical nature of the film. (not sure of the Indian title)

brilliant ...

[m_madhu · 10/10 · 4 November 2001]

the terrorist is one of the best movies ever to come out of india. the movie is totally unlike the normal indian bollywood movie. part-inspired by the events surrounding the assassination of late prime-minister rajiv gandhi, terrorist takes a look into the minds of an assassin.

the movie moves at a steady pace giving us time to understand the protagonist and sympathise with her. this bond is accentuated by ayesha dharkar's terrific acting, she clearly is a unique talent and hopefully the whole world will get to appreciate her in star wars II.

santosh sivan who is essentially a cinematographer takes to directing and comes up with a gripping tale. the movie shines with his brilliant work behind the camera as well, capturing every beautiful raindrop & the subtleties in dharkar's expressions.

the movie stands out as special, intelligent & warm, among its peers. a truly significant movie

a fantastic 10!!

"I'd like a little more movie with my movie, please."

[=G= · 6/10 · 9 April 2002]

In "The Terrorist", a handsome young Indian woman volunteers herself as a suicide bomber. This long on art but short on substance flick tells of the contemplations and vicissitudes which beset the girl as she makes her way from her jungle hideout to her date with destiny. Composed mostly of long, time-gobbling shots of faces and stuff like macros of water drops, this flick is long on art. Never showing us anything to distract from the villain/heroine (no leader, no VIP target, no firefights, no sex, no nudity, no nada), this flick is short on substance. There are also reasons to believe this film is short on cash also and reasons not to believe the girl can really do ten zillion chin-ups. Nonetheless, for what it took to make, "The Terrorist" delivers more than most films and a provocative story with a kicker at the end. "The Terrorist" is one for foreign/indie buffs and will not be much appreciated by the public at large.

The close-ups of Ayesha Dhakar are an act of mind reading

[jjwillett · 10/10 · 19 September 2001]

I am writing this review after the horror of Tuesday 9/11/2001. All of us have wrestled with the question of how and why would someone commit such an atrocity believing that their act was blessed and sanctioned by God Almighty.

As I asked myself this question I remembered this movie. I remembered the beautiful vulnerability of the face of Ayesha as she struggled with her decision to become a suicide bomber to seek justice for herself and her people after she discovers that she is pregnant.

Ayesha is able to telegraph every nuance of her thought and emotion as the camera slowly, painfully examines every pore of her skin, every lash of her dark, liquid eyes. While the premise of the film is fundamentally simple, by the time the film is over the sacredness of life and wrenching paradox of its questions has been intimately explored. As raw as birth itself this film is a rare piece of poetry.

Exquisitey filmed and intriguing pshychological drama

[SumanShakya · 7/10 · 26 December 2020]

Santosh Sivan, best known for directing a spectacular historical saga "Asoka," directed this Tamil film. Storywise, the film is similar to "Dil Se," also cinematographed by Santosh Sivan. The story delves into the psychological dilemma of a young girl, training herself to be a suicide bomber. With the minimalist dialogues and twists in the story, the film just moves tautly. The acting of Ayesha Dharker is perfect, and the photography is mesmerizing. Avoiding the Bollywood gimmicks and songs, the narration and the photography carry the film to a stupendous level. Perhaps, unheard and unwatched among the Bollywood lovers, it takes an Indian story to the international cinema, which "Dil Se" fails to do.

Rating: 2 stars out of 4

Horrible movie, do not watch this.

[minil_prexus · 1/10 · 8 October 2006]

We recently screened this film for our English class and I found it to be one of the worst films I have ever seen. There are WAY to many closeups of this actress, the plot was very weak, the props were poorly manufactured, and the sound was unbearable.

DO NOT WATCH THIS FILM.

The film shouldn't have been released to the United States and should have just stayed in Bollywood land where it belongs. This film is neither shocking nor riveting. I can't believe how many people liked this film. A group of normal college kids from Chicago all unanimously agreed that this film was complete trash.

Don't Panic

[frankgaipa · 10/10 · 9 April 2005]

My awareness of suicide bombers came slowly. Once it was grossly wrong. I can barely trace its origins. Conrad's Secret Agent? The myth of the eager kamikaze pilot? Self-immolating monks during the Vietnam War? Joan of Arc retracting her recantation? Those last two political in effect but without collateral damage. Maybe because the rest of us associate suicide with despair or even illness, because we imagine it a solitary act preventable by just the right word from a hotline phone operative, I imagined that suicide bombers in the Middle East and elsewhere acted spontaneously and alone. As if the first and only decision could come seconds before boarding the target bus. As if explosives grew under rocks and leaves. Reading the headlines I'd perceive anger, despair, courage, but miss entirely that someone, someone probably with no intention joining in the self-sacrifice, had to provide not just explosives, but training in their use, and that along with that had to come if not coercion then at least persuasion, cajoling, indoctrination.

Much of Santosh Sivan's The Terrorist takes place in a forest as lush as any Miyazaki's ever penned. Malli's journey to her VIP target is a fairytale journey. She's a hero. Her sure-to-survive-her mentor purrs "You're supreme: A thinking bomb." We say that now about tech, about robotics, but in this context it's magic. Young boys, knowing, gape in awe of her. Flashbacks to her brother's and to another's deaths imply that she was born a terrorist so can't possibly feel or deserve blame, and that her people's war is mystic, without beginning or end. In flashback, she discovers beside a river a hand attached to a body apparently dead, but that soon murmurs something "books" and then "You're a girl!" He's never seen one so close. Gnome-like ferry guide, Surya: "In the forest every tree, bird, leaf is known to me," but both continuing and marring the magic: "I know here every mine is." When an enemy patrol truck hits a mine he hides his eyes: "We must go another way. There will be blood and flesh everywhere." When Malli kills, he's distraught, disillusioned. Malli's less squeamish, yet her eyes, like Surya's, never rest, never stop watching. In the dark river flashbacks there's a side shot so near her pupil and iris form a huge reflective orb.

Once she arrives, housed with the philosophy spouting oldster and his comatose wife in a settlement that seems barely maintained against the forest, the terror-bound watchfulness, self-protection, and determination in those huge eyes of hers morphs just slightly toward curiosity. With soldier-like spontaneity, she reports to her new mentor the old man's questions, but backs off at the suggestion he's a threat. She's changed from battle wear to saris, does chores, accepts the old man's friendliness. When he hints that he knows her mission, she opts, probably against her training, to protect him.

When she hesitates at assassination rehearsal, the coach prods "Don't think! Don't think!" The phrase may damn him in the minds of some viewers, especially us Westerners, but how different is it from Douglas Adams's sarcastic but supremely reassuring "Don't panic!"?

In the final scene, while she hesitates, flower petals waft across her hand. There the film ends. We don't know what she does, what happens. In reality, she's hesitates so long, the trigger is so exposed, that she might be trapped, might have appeared suspicious. The thing could go off accidentally or by intent as they rush her. But no matter. The film has ended. There is no beyond: only a loop back to film's beginning. All was artifice, myth, hero journey.

I really hesitate, lest I offend about this film's very serious and timely subject. But just as the near magic lethal forest here suggests Miyazaki, Malli has no little in common with San, the wolf princess, Mononoke, in Miyazaki's Mononoke Hime.

Noble cause, bad movie

[alekdavis · 2/10 · 26 December 2002]

I am surprised that so many viewers liked this movie. Let me make myself clear: I find the subject matter very interesting. Trying to understand why people (especially, young people, and even more so young girls) become terrorists (or freedom fighters; the terminology is heavily dependent on your alliances) is quite noble. So I was really eager to see the movie, but unfortunately was disappointed beyond the normal expectations. What was good about it? Well, the actors were not too bad (especially, given the fact that they were mostly non-professionals). That's about it. What was bad? Let's start with the premise: a girl (freedom fighter/terrorist) becomes impregnated by a wounded "brother in arms" while they find themselves hiding from the government troops in a ditch (and the latter are still raiding the area, might I add). Are you kidding me? I admit, I've never been shot in a battle, so I cannot tell what a person would normally do under these circumstances, but my wild guess is that having sex with a comrade (while the enemy soldiers are searching around) would not be the first item on the list. Well, may be I am wrong here... Next, who was in charge of the soundtrack (and sound in general)? This was probably the worst movie sound, I've ever heard: the same bad composition played on a cheap synthesizer over and over, so by the middle of the movie, you have an urge to turn the sound off and just read the subtitles. Who was the director? Almost every scene (with exception of the scenes involving the old man, his goofy friend, and the paralyzed wife) looked exceptionally fake: fights, killings, pull-ups, etc. Anyways, this could've been a decent unprofessional movie, but for a professional motion picture (especially, given the amount of positive coverage), it falls quite short.

A story well narrated

[sudhirkishan · 21 August 2004]

The movie is about a girl who is sent on a mission to assassinate a VIP by becoming a human bomb. It can be related to the assassination of Rajiv Gandhi, former Prime Minister of India. A notable fact is that no where in the movie is there a mention about the roots of the girl nor who the VIP is. It rather narrates the incidents that occur from the time she is chosen on this mission.

The movie has wonderful cinematography by Santosh Sivan and good performances by all the artists. All the artists were very natural making the movie more realistic.

The unconventional ending has done justice to the narration.

Intense Film

[EdYerkeRobins · 10/10 · 15 February 2001]

This film is easily one of the best movies I have ever seen. The idea of seeing the human side of a guerilla-trained killer is amazing in itself, and the film lives up to that promise.

Ayesha Dharkar is an extremely talented actress, much more than just a pretty face. Her portrayal of Malli gives a real sense of the conflict between fatal patriotism and personal hopes, as Malli begins to question her personal beliefs for the first time in her life. Her rapid softening-up may be unrealistic, but it is still a haunting performance that causes the viewer to question, "Could I have made the same choice?".

The other characters play their purposes well, being cold (the guerilla leaders), frightened (the boy Lotus), or lonely and sympathetic (the old man Vasu). However, this is plainly Dharkar's movie.

The score is unlike any I have ever heard, mostly because of the unique Indian instrumentation and composition. It does create an incredible atmosphere of suspense, that grabs hold of the viewer and doesn't let go until the gripping conclusion.

The combination of these two elements with a well-paced script (seems neither too long nor too short) makes for an intense film with a lasting impact.

This movie made me go berserk..!!

[karthkyn · 10/10 · 31 August 2004]

I am an ardent cinematography lover. This is an amazing piece of cinematography work by SANTOSH SIVAN.

Throughout the movie, I was glued to my television. Sharp focus, Green color contrast and some excellent compositions. This movie is inspired from Mani Ratnam's Dil Se, The Depth Of Field was shallow throughout, very few wide angle shots, most of them being tight closeups of Ayesha (Malli). The music score was a bit disappointing, and the dialogues were less audible than the re-recording.

Does anyone know why there were couple of BLACK INSERTS in between some very intense shots..?

Will watch it again. I give it a 10 on 10.

a most extrordinary and beautiful movie.

[mirkats · 9/10 · 28 September 2002]

we rarely get a chance to see a movie so different from the ordinary. dont be afraid of the subject matter, open your mind and heart to the plight of the tamil (or any other oppressed )people.

also, the acting, direction, scenery are amazing.

Malli? or should it be called Malo!

[kmac1313 · 2/10 · 11 April 2000]

Careful -- there could be a comment here that maybe a spoiler.

I only mention the spoiler as I believe this film should carry the "buyer beware" label as I believe some scenes have been edited out so it could show in Chicago (where I saw this film). I am unsure of the print that showed as I think I never saw the entire film. Scenes appeared to be "blacked out" -- scenes that were probably important to the film ending. Yet let's press on (caution: spoiler comment in forth paragraph).

This could have been a good film but the sound editing is terrible. The sound of water and breathing distracts you as it dominates in almost every scene. It becomes annoying; however, the music sound track is very good. The story does has movement and is helped along by the music score as it builds to the climax. Yet be prepared to be left..... hanging. (spoiler comment below)

I can only guess what was edited out (my guess was a visual destruction that Chicago audiences may have found disturbing). The editing, in fact, ruined the film for me as the black outs came at the climax. If an American viewing (or Chicago) was going to be a problem for the film they should have inserted a stock shot or kept tight on Malli's face.

It had potential as a good Indie but the poor sound recording and poor editing caused me to think "malo" instead of "Malli - si! - muy bueno".

a most extraordinary and beautiful movie.

[mirkats · 9/10 · 28 September 2002]

we rarely get a chance to see a movie so different from the ordinary. dont be afraid of the subject matter, open your mind and heart to the plight of the Tamil (or any other oppressed )people.

also, the acting, direction, scenery are amazing.

Just a visual exercise - nothing more

[reelG · 28 May 2002]

The movie lacks in substance. It is a very simple plot yes, but the telling doesn't have to be so simple. The movie is devoid of substance, innovativeness and anything interesting. Visually it is appealing but so are lot more films from India. That doesnt necessarily mean the director can dwell on slow motions, extreme closeups and some pictureseque shots without getting on with the story.

What's good? Photography, a couple of ideas/concepts, the girl. What's not? Screenplay, sound (major sound problems), direction (wayward), acting, production values (every gunshot in the movie looks/sounds fake and the movie is called the terrorist) and the movie.

A Masterpiece...

[london_struck · 10/10 · 28 January 2001]

I just finished watching this movie on my DVD player... and am just blank-staring my screen.

Like everyone here, I agree that this, this is a very well made movie. If it had any glitches, noticeable some odd sound editing, they will not be remembered. I will remember this movie not for what it did to me as I watched it (per say), but for what it left afterwards.

As a very visually oriented person myself, a movie so beautiful as Malli goes to show that it doesn't, and never will - take high budgets and smoke & mirrors to make a visually, haunting, stay-power movie. The Cell comes to mind, as I will remember that movie not for the impact, but for the fact that it had lots of neat special effects. However, no matter how articulated The Cell tried to be, sophisticated with it's cinematography, lighting, story: it will never achieve the stay-power that this movie, and its likes can.

Malli is a simple movie, but in it's simplicity ~ opens a door of the most complex of human understandings. This is the work of an artist.

simply fulfilling

[underground_sheik · 10/10 · 8 January 2006]

I was taking a course this past semester on Religious Harmony and Religious Violence, and a friend of mine was gracious enough to lend me a copy of the film on DVD.

It was one of three DVD's he lent me, and coincidentally the last which I would ever get to view on my laptop before it went off to laptop heaven.

I digress.

Malli had my sentiments from the outset. Already with the curious envy she invokes among her peers, I could see she was destined for greatness. An aura of purity encapsulated her every move, even when she was alone with the boy guide in the jungle and she dispensed with some unfortunate guard. Never did she fail to execute her orders; for this, she would have made the perfect sacrifice. Yet, she is not left to be a mere killing machine, in the Occidentalist sense of the term. No, quite the contrary. A bout with fame quickly provides impetus enough to bring about in Malli a sense of humanity. But will this new humanity of hers be enough to pull her out of the warrior mindset? Constantly, this is the question I am left asking myself as the film concluded.

On sheer story alone, this is a tour-de-force. The plot was simple, easy to follow, and yet intricate. The characters, from the greatest to the least, especially the young warriors on the bridge that Malli passes en route to her superior or the other females who were not chosen for that last, bleak assignment, were all very believable and could have easily whisked us away with their own individual stories. In terms of overall aesthetic, I would say there was much good material here--lush environment, unspoilt beauty in Malli's ever-intense eyes.

On the whole, an excellent film.

Excellent Filmmaking

[redrocketb · 9/10 · 20 May 2000]

This film is set in Sri Lanka (although filmed in South India) and follows--albeit rather circuitously--the life of a nineteen year old Tamil terrorist Malli, leading up to her attempt to assassinate the Prime Minister of India. You don't know any of this from the movie, for politics is unimportant in this deeply psychological examination of Malli's decision, but since the film is based on the real-life assassination of the Indian Prime Minister, a little research yields the above. Shot entirely on location over a period of 14 days and with a budget of $50,000, The Terrorist uses only natural lighting, but even without this interesting note, the cinematography is extraordinary. Highly recommended to the other twelve people in America who will see it.

Riveting

[baburoy · 8/10 · 23 January 2001]

In May 1991 Rajiv Gandhi was then campaigning as Prime Minister. He went to address the public in South India in the state of Tamil Nadu and there he was assassinated by a suicide bomber. The bomber was a girl called Dhanu. Dhanu was a cousin of Shivarasan, the supposed mastermind of the assassination. When Santosh Sivan, a well know cinematographer wanted to make a film on terrorism and a terrorist, he chose the above events to film his story. And he made a wonderful movie. While many movies try to focus on why a person became a terrorist, this one did not. It was assumed that the terrorists were there.

The story is simple. Malli, a terrorist, is chosen to be a suicide bomber to blow up an important leader. She comes from a family of people who are fighting for their freedom. In her journey she meets many people. A lover, who she met when she saved his life and who later died; a young boy named Surya alias Lotus who dies, a farmer, Vasu and his family. In her journey somewhere, she realizes the importance of emotions and love.

Malli's leader passes her of as his cousin and she goes to stay with a farmer in a village. The farmer's son is not there and thus a room is vacant. Slowly the viewer realizes why the room is empty. Malli rehearses for the final day and then...........

The film is not at all a biography of Dhanu the suicide bomber. Dhanu was never nervous. She had a whole troupe working with her and when she went on with her mission she had a lot of backup in case she failed. The film here is a story of a human being who had become a terrorist who realizes what it is to be human. The film burns with a tense, bloody power ­ there's no denying this is one of the most visually stirring films to come out of the massive Indian film community in years, but the interplay of the beauty and terror clash perhaps too often and leave the viewer wondering why (this is possibly the film's point, though it seems muddled, the tension diluted). John Malkovich, who has been trumpeting the film's praises since he first saw it at a screening during the 1998 Cairo International Film Festival, has come on board as a sort of post-facto executive producer (The Terrorist's titles read "John Malkovich Presents"). It's clear from Malkovich's lengthy article in The New York Times sometime back that he considers the film to be a masterpiece (he says as much), and to a degree it is. Shot in 15 days, with natural lighting, on a budget of $50,000, and using a variety of non-actors, the film is a marvel to behold (at least visually). Incidentally acting in Malli (Terrorist) got Ayesha Dharker, the girl who plays Malli, her role in Star Wars-Episode II. Episode II Casting Director Robin Gurland was completing casting in New York when she read the article in the New York Times by John Malkovich describing Dharker's performance in The Terrorist, a small film he saw at the Cairo Film Festival. "He praised both the film and Ayesha's performance," said Gurland, "but unfortunately I couldn't catch the film before I left New York. By chance Sam Jackson was filming Shaft in town and I stopped by the set to say hello. We started talking about films and as luck had it, Sam had just received a videotape of the movie. I borrowed the tape and was mesmerized by her performance. Fortunately, I was able to track her down and Ayesha and I met in London."

Good movie....

[enigma_777_f · 2 October 2003]

I saw this movie way b4 9/11 and at that time thought who in their right mind would ever do such a thing....but now after 9/11 I am open to all possibilites and would recommend this movie to anyone with an interest in learning more about terrorism...but not for the purposes of condoning it but for the mere purpose of trying to understand it.