Overrated

Expected more

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

"Under stress human beings reveal who they really are. We are all survivors; that is what we have in common. What is most important is how a person manages to survive. True heroism lies in the quality of that daily struggle." (Roland Joffe, the director).CITY OF JOY based on the novel by Dominique Lapierre may bring to mind the spiritual content that Roland Joffe primordially manifested in his earlier MISSION (1986). As much as it may symbolize a particularly similar approach to the storyline and the content, its quintessential essence lies in its location and its characters. Geographical sentiment accurately mixes with the spiritual/religious one. But, first of all, Mr Joffe's movie appears to be, what Frederic and Mary Ann Bussat call it, "an uplifting portrait of love in action ... a poignant picture of everyday heroism ... an enhancement of life" that occurs to find its relevance in joyous human development.As it appears to be the case with every film that has attempted to address certain spiritual content, CITY OF JOY also intrigued quite diverse viewpoints. Among the top critics and reviewers, Vincent Canby of New York Times labeled the film as "phony from start to finish" adding that it actually "lacks the courage of its confused convictions" while Roger Ebert was more positive about the film's appeal to general audiences. Contemporary movie buffs also resort to certain 'limits' in that respect. Some viewers, particularly American and European ones, consider CITY OF JOY a Patrick Swayze film. Yes, to some extent it is a Patrick Swayze film but...not entirely. Let me highlight certain aspects of his performance.Indeed, Mr Swayze's character of Max, whom Roger Ebert calls "a drifting hedonist" in his review, plays a decisive role in the film's theme as well as creates a wonderful insight into a development a man might undergo in certain circumstances. Patrick Swayze delivers a tremendously powerful performance depicting a variety of emotions that might be at war within the heart and mind of a doctor who has experienced a tragic death of his patient and wants to "disappear in the sea of humanity" (Ebert). He embodies a spiritual quest for finding himself in the hardship of this world, finding his own place, leaving the past behind and start everything anew. He goes to India and, though the beginning of this visit mixes drama with humor, he does not expect what charitable spirit he will have to cultivate within himself and in the world around him. This inner war must 'infect' others and help them see it is really hard and wonderful alike to be a human being in order to beat the odds. Patrick Swayze's scenes are supplied with terrific emotions and a very appealing portrayal of an American in India facing the uniqueness of its culture and lifestyle.As a counterpart to his rebellious nature and desperate quest for transforming power comes Hasari played brilliantly by Om Puri. While Max represents an individual in the new reality who undergoes doubts and hesitation, Hasari is an example of a joyous giver from the beginning. What keeps him in that tranquility is his family, his wife and children. There, in the crowded, noisy streets of Calcutta, he looks for a job. By chance, he becomes a rickshaw driver and these scenes, simple, austere, funny find their relevance in the title 'joy' that may rise in a human who does not feel abandoned and not needed. His relation with Max, turbulent and wild as it may seem at moments, concludes in some of the most magnificent moments of the film. Both give much of themselves and both do not lose. Ebert makes here a parallel to such a classic as BICYCLE THIEF that finds its realization in Hasari's character and he is not that far from the accurate observation. We see a human being placed in terrible situation who does not, yet, give up.The female character, we could say the heroine of the movie, is the Irish Joan Bethel played by Pauline Collins. Vincent Canby calls her partly humorously as "feisty, youngish, Irish – born variation of Mother Theresa." As there is no 'love story' of Max and Joan, she is given great scenes as the embodiment of charity in the brute world ruled by 'godfathers' and their puppets. As a devoted Catholic, she is also a committed giver.All those characters create a healthy balance and help the movie resist the temptation of being a 'star vehicle' or sole focus on Patrick Swayze.Amongst he artistic values of the movie, one has to mention the terrific music by Ennio Morricone which goes well with the joyous shouts that draw parallels to the story and the lovely, almost haunting images of people in the streets.All in all, a very valuable movie that beats the odds of criticism from indifferent intellectuals and brings out what is really best in humanity: love. A must see not only for Patrick Swayze fans or those who enjoy the atmospheric style of Roland Joffe.

Based on Dominique LaPierre's book, Roland Joffé's 'City of Joy' may have received mixed responses as it's one of those films that one either connects with or not. I really enjoyed it from start to finish. Yes, Calcutta is portrayed as being impoverished and one could argue that the film was made to cater to the Western audience who don't see India beyond poverty and slums, but that putting that aside, the film has heart and one doesn't have to be Western or Indian to relate to the issues that are brought forth, to the conflicts the characters come across and to their values.On the technical side, it's a very well made film. Peter Biziou's cinematography authentically captures the rawness of Calcutta city and life in the slums. In addition, Ennio Morricone's score is spellbinding. Gerry Hambling's editing is solid.Patrick Swayze turns in one of his career best performances. His depiction of Max's growth from the angry hot-headed ex-doctor to the compassionate and caring 'family-man' is superb. Om Puri is equally terrific as the down-to-earth humble Hasari who, just like any familyman, wants the best for his wife and children. They are supported by equally strong performers like Shabana Azmi and Pauline Collins. A very young Ayesha Dharkar does a sincere job.Subtle, uplifting, poetic, poignant and beautiful are a few words that describe 'City of Joy'. It's one of the best of its kind.

Although the movie might not have the best direction or not one of the best laid picture it still has a lot of good things. If you have visited India (where it has been primarily filmed) and especially Kolkotta city you would see the realistic nature of movie. It depicts the day to day life of a person below the poverty line. It also highlights the morality of foreigners and NGO's who are trying to help the needy. Very often they have to face resistance from local authorities who either want to exploit the masses or think the foreigners are trying to religiously exploit them. In nut shell I liked the movie.

The Western society has been fed ideas about India being a poor country. Movies like these only make those beliefs stronger. Such illustrations make it all the more difficult for Indians to be accepted abroad. Agreed there are poor and homeless in India, but why is there no representation of educated people if not the successful ones.I totally hated the idea of the movie portraying Patrick Swayze as another Mother Teressa. In my opinion this movie has shown India in a very bad light giving wrong notions. It is unjust to discuss only one aspect of the society. Exactly the reason why people ask me, "When we go to India, can we hire an elephant right outside the airport so we do not have to walk on the roads so full of filth and snakes?"Those who want a second opinion on contemporary Indian society should watch "Monsoon Wedding".