The post-modernists give the film the aspects of the metanarratives precisely because it contains feminism, representing the values of the women in the society. Mississippi masala is well representing feminism through the past story of Asian Indian who settled in the American South and in Uganda as well. The ideology of social, political and economic representation of women is well interpreted in the movie.
Ray narrates the history of the last days of young woman before moving to American south to pursue her studies. Despite the fact that there was a curfew after the Babri, which was expected to perpetuate the stereotype of the Indian Life, was demolished, she still intends to move to the airport. Her worry was to get a way to be in the airport as her brother criticized of being selfish. He viewed that despite the Indian women life was restricted and harsh in Uganda, she should not move away. Being a protagonist she should fight for the rights of the Indian women in Uganda. Ray intended to portray how the life of Indian women is full of tensions.
Another aspect of the metanarrative represented in the Mississippi masala is interactionism in form identity and gender concept. The story features Jay, Kinnu’s wife, and her daughter, Mina, who were forced to leave Uganda from the order of Idi Amin. Mina as a grown up woman started to interact with Demetrious, a young black American, and their love story developed as the key narrative of the movie. Although not directly, this stipulates the developing situation when people from different cultural and racial identity. The romance that developed from migrant Indian woman and African American is a good example of interactionism.
Work cited
Nirmal, Puwar. South Asian Women in the Diaspora, London: Oxford, 2003.
