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Our mind's eye stays on the ground. The Indian expertise in cutting tempo and in the use of "optical" effects in dance numbers is unmatched in the world. Up to about , kisses were not only permitted but were more ardent than was customary in Hollywood. Nimmi's navel caused a minor sensation in London when Aan was first shown there. in the Middle East, the bare midriff is a known sign of the belly dancer so the Indian navel is helpful to export to that part of the globe besides being delectable enough to Indian eyes. Boy and girl exchange glances, meet a few times, realize they are meant for each other, rush into an embrace. Folk costumes, such as the Rajasthani. Dancing sets up ripples all over the body and bathes it with a radiant light of sex. All this comes to splendid sexual manifestation in the song-and-dance numbers. The swimming costume is often pressed into service but the shrewd sex merchant knows the limitations of such disciplined legshow. The navel is a part of the anatomy which, unknown to the censors, the public finds very suggestive. I know of only a few instances where a kiss has actually been shown in recent times in an Indian film. The breasts often shake faster than the belly of the Egyptian belly dancer or the footwork of Kathak dancing. The Hollywood convention, before this permissive age, was to lead up to a kiss not too dry, not too wet , and go on to the next phase of the story.

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Description: Folk costumes, such as the Rajasthani. The constraints of story logic are removed, the avoidance of the kiss is no longer a problem, and the figure of eight walk, the rolling on the grass, the winding and the unwinding of the telephone wire round the body, the big breast-shake, the quick jerks to the hips to the rhythm of the music played by a hundred-piece orchestra, all come into their own, adding up to an intimate sexual experience wrapped up in a fantasy which is unique to the Indian cinema. Sometimes, suddenly the heroine will fly from the impending kiss and start singing a song while entwining herself round a tree or rolling down a slope with the hero in hot pursuit. There is, of course, a certain amount of decolletage, but the censors' scissors are sensitive to more than a slight show of cleavage, so not much mileage is to be made out of that. To see even a pale imitation of it one would rush to a modern Hollywood film, or better still an uncensored foreign film at a film festival in one of those wild holidays from censorship which India grants its metropolitan citizens from time to time for reasons which no one is able to fathom. The Indian expertise in cutting tempo and in the use of "optical" effects in dance numbers is unmatched in the world. Achala Sachdev, the everlasting tearful mother of the Indian screen often supplies the turning point, as often as Johnnie Walker or Tuntun or Mehmood the comic relief. At other times the hero may fall on his knees, wrap his arms round the beloved's ample hips and lean his face dangerously close to her genitals, albeit unseen. Not even the Hollywood musical can match the splendid tempo, verve and frank sexuality of the Indian film dance. A fairly low climax, adequate to round off the mild passion aroused. The swimming costume is often pressed into service but the shrewd sex merchant knows the limitations of such disciplined legshow. Back away from the inevitable kiss, divert the attention of the audience to other sexual innuendoes, again developing the urge for a climax, this time of a kind that a mere kiss cannot satisfy. Satyajit Ray showed a very discreet one, seen dimly through a white mosquito curtain, in Debi The Goddess.
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