PLOT: Fresh from her well-received indie, SURVEILLANCE, director Jennifer Lynch is invited to shoot a big-budget Bollywood film in Mumbai. Titled NAGIN: THE SNAKE GODESS, Lynchís collision with the Bollywood film industry ends disastrously, and this is a chronicle of her experiences shooting the film she eventually disowned.
REVIEW: DESPITE THE GODS is a film that probably would have never come out had director Lynch- daughter of David, and herself no stranger to controversy (BOXING HELENA) not been able to bounce back so quickly with her next film, CHAINED. But- lucky for us, she did- and DESPITE THE GODS is now free to take its place alongside films like LOST IN LA MANCHA, and OVERNIGHT- examining just how quickly a production can spiral out of control.
Lynch obviously has pretty thick skin, as many directors in her place would have never allowed such a doc to ever see the light of day, but Lynch has supported it to the extent that she even introduced it at the Fantasia premiere. Truthfully, no one depicted in DESPITE THE GODS comes off totally blameless, although the eventual fate of the film canít be blamed on one person, but rather that Hollywood and Bollywood are just two radically different places to make a film. Just because you succeed in one, doesnít mean youíll succeed in the other.
Itís hard to imagine why Lynch, who spent years battling her way back into the industry after BOXING HELENA won her almost universal scorn, would sign on to do a film in Bollywood. It was a huge risk, and itís obvious, right from the start- documenting Lynchís first days in India, that sheís in over her head. Not only does she have a huge film to make with a pushy producer, but sheís also a single mother- and her precocious thirteen-year old, Sydney, becomes a constant presence on the set.
Every aspect of the pre-prodcution and shooting was documented by director Penny Vozniak, and I assume DESPITE THE GODS was originally started as a DVD production diary that suddenly transformed into something radically different, and infinitely more fascinating. Lynch is presented as head-strong, and stubborn- and having a distinctly western sensibility, sheís taken aback by the melodramatic tendencies of Bollywood films- as shown in an early scene where the producer, Govind Menon, runs her a new film.
Menon ultimately emerges as the ďbad guyĒ although, itís not that heís not a nice guy, but rather that heís under a huge amount of pressure himself. He constantly chastises Lynch for allowing her daughter on the set, and for being a perfectionist, and repeatedly threatens to take over as director in order to finish the film- which quickly falls behind schedule. She also has to deal with a leading actress, Bollywood superstar Mallika Sherawat, who starts off helpful, but eventually becomes a diva- and is so shy about wearing revealing costumes that one wonders why she would have ever agreed to make a film thatís supposed to be sexy. Still, you canít blame her, as the attitude in Bollywood towards sex in films is far different from the Western perspective (something Lynch has a hard time with).
If thereís a saving grace for Lynch, itís the friendships that spring up between her and the good-natured Bollywood crew- who seem genuinely devoted to helping Lynch make the film she wants to make. In the end, NAGIN- now known as HISSSS, apparently became a terrible film. But- while maybe HISSSS is a waste of film, DESPITE THE GODS certainly isnít, and emerges as a fascinating look at just how quickly a film can totally spiral out of control- even if everyone involved has the best intentions.