Kama sutra: a tale of love

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Every month, we at The Spool select a filmmaker to explore in greater depth — their themes, their deeper concerns, how their works chart the history of cinema, and the filmmaker’s own biography. For January, we look back at the multi-faceted career of Indian-American filmmaker Mira Nair, whose textured works expertly thread social, cultural, and narrative borders. Read the rest of our coverage 

When it comes to matters of sex and desire, there are two Indias: One is the ‘land of the

It’s interesting to note that Rasa’s students range from teenaged virgins to elderly, silver-haired women: one is never too young or old to feel passion. In her velvety voice, Rasa philosophises about love and desire in a way that can make ‘Yeah, sex is great, but…’ memes cease to exist. These—along with the lush colour palette that’s evocative of the eroticism of Raja Ravi Varma’s artwork, especially his

On the other side of this coin is Tara, whose love for Raj entraps her in a toxic relationship. Consumed with the memory of his first night with Maya, he creates a world for Tara for which she could never have prepared herself. 

Tara, pampered and sheltered from the harsh realities of the world, is presented with a rosy image of consummation; her female elders tell her that her husband cannot touch her for the first three days after the wedding, but would later make tender love to her. However, on the first night, she’s caught off-guard by the fact that the first time is painful, and in her case, the pain is not just physical, but also emotional, as Raj rapes her and leaves her to be with his courtesans. 

Tara, nonetheless, wants her abusive husband to love her and accept her as his wife. To this aim, she learns a trick or two in seduction from Maya, for according to the film, a woman must give herself up bodily to a man in order to gain the upper hand over him.

Maya and Tara reconcile, but only when Tara learns that Maya does not love Raj and thus no longer feels threatened by her. It brings to mind Maxim’s confession scene from Hitchcock’s

However, neither Tara nor Maya finds peace or happiness. Maya believes that by becoming a courtesan, she has taken charge of her life and that society can no longer tell her what a woman of her caste or stature should do, yet she remains restless. Both women learn to desire, but its fulfillment eludes them. Each wants to be like the other, to have everything the other one has, but Nair proves herself too timid by not dismantling cis-het notions of desire, and thereby not subverting patriarchy. And this problem remains, to a large extent, rooted in the title of the film. After all,

Tara is prepared to marry Prince Raj Singh, but when the prince comes to view his future wife, he is instantly infatuated with Maya instead. Noticing this, Tara spits in Maya’s face and sends her from the wedding in tears. Maya takes revenge by seeking out Raj and having sex with him, before he has completed the marriage rites with Tara; Biki, hiding, watches the two of them.

As Tara is leaving home as a newlywed, Maya tells her that just as Maya wore the princess’s used clothes all her life, Tara will now have something Maya has used. During her wedding night, Tara is hesitant to consummate their relationship. An angry Raj rapes his horrified bride, even calling her Maya, setting a tone of violence and humiliation for the marriage. Despite this, Tara still yearns for a loving relationship with her indifferent husband.