After watching Mississippi Masala and reading Lee’s analysis of the film I wanted to go look into interviews done by those in the film, I thought this would be a successful way to achieve a wider spectrum on the movie, since it would add the view of those involved to my own opinions and the opinions of Lee’s theory. But when I looked for interviews by either of the film’s stars, Sarita Choudhury and Denzel Washington, I found nothing for Mississippi Masala. The most relevant result I got was an interview with director Mira Nair. Below is an excerpt from the interview and the full transcript can be found here.

BG: In Masala there is an issue that I’ve never seen dealt with before, the issue of black and brown – the conflicts and situation. That is very fresh, and goes with you saying you wanted to make cinema that puts black and brown people at the centre.

MN: Well, Mississippi Masala grew out of being an Indian student at Harvard. When I arrived I was accessible to both white and black communities – a third-world sister to the black community and Kosher to the others – yet there were always these invisible lines. I felt that there was an interesting hierarchy where brown was between black and white. Even before Salaam Bombay!, I had wanted to tell this tale. That, along with the irony of Indian racism and the separatist nature of the Indian community in America … I began to read about the weird phenomenon of every southern motel being owned by an Indian, and many of them were exiles from East Africa after Amin had thrown them out.

There is this very cerebral concept: what was it like to be an African, but of Indian skin who believed India to be a spiritual home without ever having been there and to be living in Mississippi? An what if this world collided with that of black American who believed Africa to be their spiritual home, but had also never been there? It must collide through love, because we must sell tickets!

But where are the other interviews? How does a movie that deals with identity, racial and shade issues, and an interracial relationship with both people being people of color not have more press? I can find YouTube appreciation posts of the music, interviews by both Choudhury and Washington for other movies, and even the full movie but no review videos. I want to be surprised, but I’m not. Even though this film pushes the boundary of how racial identities are perceived by oneself and others while redefining the the portrayal of interracial/ cross-cultural couples it remains hidden under a multitude of other results. After this realization my spectrum did grow; the lack of exposure for alternative representation of this film makes the film itself even more important and necessary.

I’m surprised I never saw this movie, but I found it to be very enjoyable especially after My Name is Khan which I didn’t really like at all. Mississippi Masala just felt more endearing and I enjoyed the message of the film. I like the pairing of African American and Indian American at the center of the film as it’s a romance hardly seen on the silver screen. Setting it in Mississippi as well, considering the history of racial tension, was a good choice for setting because it contrasts greatly with story of the film, creating conflict. Mississippi Masala shares a ton of similarities with other films we’ve watched and the themes it conveys are what we talk about often – identity crisis, generational conflict, etc. It seems to me that the conflict between parent and child is perhaps the strongest theme throughout all the films we watched. Both Demetrius and Mina are held back by their rigid family values, but ultimately decide to say “screw it” and make a life for themselves.

I also thought it was interesting how the film portrays racism but in a way you never see very often, in terms of it not being white/black or American/Japanese. The division between Mina’s father and Demetrius only emphasizes this aspect, which is why I like when Demetrius confronts Mina’s father about the color of his skin, basically saying that there’s really little difference between us, and that this categorization of skin color is superficial at best. His past history in Uganda and getting expelled from his home country gives him reason to feel as he does, but I’m glad that Demetrius and Mina decide to stay together despite the pasts of their families. Someone in our class said that they kept expecting something crazy to happen, and I have to agree considering some of the other films we’ve watched (Better Luck Tomorrow for example) have dipped into the darkness, so the fact that this did not happen in this film makes it more unique in my opinion – this is about other things.

“Africa is for Africans. Black Africans.”

This quote really resonated with me and I say this because I feel as though this is the struggle that people like me have had to deal with throughout my life. How, no matter how much we may love our current country that we have called home, at the end of the day, if we look any different from the major race of that country then we truly cannot call that place our home.

Home is where the heart is though right? Well, yes and I agree with this to a certain point but for me, home is where I can lay in my bed, home is where I can walk down 4th ave and recognize members of the community. I can only how devastating of an experience it would to be kicked out of a place you call home because of the way you look. For me, what happened to the Indians in Uganda was very similar to the treatment of Japanese Americans in the United States during WWII.

I can understand how it’s understandable how Mina’s parents were opposed to her dating an African American possibly because of the history that they had with Africans in the past because my Japanese family reacted very similarly to my father when my mother first introduced him to the family. My mother said that if her father had been alive, he would never allow for her to marry my dad because of my grandfathers experience during WWII.