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Pretty good movie overall. First half was nothing special but it got better as it went along.

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The film may be flawed, but its message is not.

"The Mystic Masseur" is clearly a labor of love by director/producer Ismail Merchant that he feels close to as a member of the Indian diaspora.Adapting a V.S. Naipaul novel I haven't read that deals with his roots as an Indian in Trinidad, the movie works charmingly best when it stays within that Indian community, and is less effective as a criticism of colonialism when the striving "Pundit" at the center clashes pitifully with the Brits. The cause may be the basic hopelessness of his quest: to absorb all the book-learning of British culture and live a life based on his philosophical learnings.The first part has an enjoyable "Milagro Beanfield War" feel, with less magic realism, but just becomes sad and peters out as "Pundit" bequeaths his quest to Naipaul's generation, which clearly prefers staying at Oxford with British women than coming home to take on British hypocrisy directly.(originally written 6/4/2002)

In 1940's Trinidad, Ganesh leaves his teaching job in the city to return to his father's village to try and become a writer. He struggles at first and ignores attempts by his late father's friend Ramlogan to get him to become a masseur like his father. When he marries Ramlogan's daughter Leela, he sets to write his books proper but the gamble is slow to pay off. At this point Ganesh decides to play up his slight reputation as a masseur – a reputation that has been made more appealing locally by his showmanship giving him a 'mystic' air. As he grows in stature as a masseur, so his book sales increase and he finds himself opened into the potential of politics, inspiration and corruption.Attracted by this being an Ismail Merchant film, I wasn't sure what it was about or what it was going to be like. The plot interested me from the start as I tried to understand the flashback structure; it went further to show me a community that I didn't even know existed. However these were not enough and the film just didn't seem to go anywhere; sure it told a story, but it didn't seem to take much of the audience with it and it produced a story that goes very slow and, although it has stuff happening, it was surprisingly unengaging and actually rather dull. The characters are semi-interesting and the plot is the same, but the delivery drags it all down. At points it is rather amusing but again the delivery reduces the impact this has and it makes it sporadic rather than infusing the wit with the rest of the film. The film tries to take the story of Ganesh from humble beginnings to a place where he has grown beyond what he first wanted but it doesn't work as a story in itself nor as an allegory for the growth of Trinidad or the community. It is not terrible but many viewers will feel that it doesn't really go anywhere and, even worse, it goes there very slowly and with limited entertainment value.The cast are mixed; by which I don't mean some are good and some bad, but I mean that they are all a bit hard to judge. Their accents is a good example; is their mix of Indian & Patois spot on for the place and period or is it as poor as I thought when I first watched it. Patois is a hard accent to pull off without sounding silly (look at Brad Pitt in Joe Black!) and I wasn't totally convinced here – I accept that the mix would sound funny anyway but in this film too many people sounded like they were forcing it – as indeed they were. However they also mostly do well with their characters and it is not their fault that the film lets them down. Mandvi leads the cast well but he doesn't manage to help us totally understand Ganesh – and I'm not convinced that he totally understood him either. However he does change well over the film as required but this is not enough given that the film is his to dominate as the main character. Dharker is as gorgeous as ever and she is pretty good when the film allows her to be, mostly in the first hour. Puri is a great actor and given high billing here but the film doesn't hardly use him and then just forgets he is around; his delivery is great though and he is a big part of the wit that the film doesn't use well.Bhaskar seemed a strange choice since he is best known as a comedian in the UK but he is good here and makes for lively, honest support. Mistry is wasted and seems unsure of himself and the rest of the cast are given too little to really do to be worried about listing. Merchant's directing is good and the whole film looks colourful and interesting.Overall this is an OK film but nothing really works that well and, despite the colourful locations, communities and sets it still comes across as being rather limp and, dare I say it, dull. The story and characters have just enough going for them to become interested but not enough to really engage and satisfy as a story – the ending is a fine example of this and feels like the film just decided to stop. Maybe worth seeing once as an unusual film from Merchant but really this is only average at best.

Don't believe the comments, this film is a pleasant surprise, not pretentious artistic butler garbage. The film depicts a young Indian teacher in Trinidad in the 1940s, an aspiring intellectual in a rural, isolated village. The acting in this movie is its strongest point, the dynamic between the title character and the villagers, including his wife and father-in-law are cute, homey, and very refreshing, a merriness not seen in many mainstream films in the last 10 years. Om Puri, as the protagonist's father-in-law is truly hilarious in his portrayal of a bumpkin fascinated with the ways of the educated. Aside from the abrupt ending this flick is a real charming piece of film candy. The photography in the lush, rainy, green of Trinidad is also notable.

The look and feel of this film is of a "real" story, based at least somewhat on facts, although it seems rather too preposterous to be real. We are presented with a semi-literate, backwater Hindu cracker, in love with "books" the way people of limited literacy tend to be, desiring nothing so much as to write some himself, but with barely enough talent to produce more than grandiose pamphlets. Similarly, with no actual training or experience to draw from, he imagines himself to be a gifted masseur. Evidently in the more rustic districts of Trinidad, where superstitions run high, people were greatly impressed by such pretensions, and he does rather well for himself. Soon he is holding "court" on his potato patch, with lines of rural boobs waiting their turn to be blessed or have their marital quarrels adjudicated. The film has a Hindu flavor of the American Evangelical movement of the 1920s, somewhat squalid and shabby intellectually. It is presented in retrospect form the point of view of a young fellow who experienced a "spiritual healing" from the pundit in his childhood. The lettered rube is therefore treated with the greatest respect, as though nearly a Gandhi or Nehru! It is exceedingly well done technically and artistically, if only the story was less peculiar and doltish.