The idea seems to somehow celebrate a grand Indian wedding but with a novel approach. What comes between that grand wedding day is a weighty daughter Goldy Notay of Shabana Azmi.
Shabana Azmi, a Southall Punjabi widow, wants to join her husband but not before getting her daughter married off to a suitable man. All her efforts to fix a match for the girl prove futile with each one taunting her on her daughter being so fat.
Next you know, the London police are on the lookout for a serial killer who is also a good cook. One after the other, four Asians are found done to death with something related to food! Soon it is revealed that unable to contain her wrath at those taunting her daughter she kills all those who do so. What she did not foresee was what happens thence; all those whom she killed come to haunt her as ghosts telling her that their salvation was only possible through her death. However she soon weans the ghosts over to her side who agree that she can’t kill herself till her daughter is married off.
It could have been a pleasant viewing but for yucky look given to the ghosts with one of them even holding his burst guts in his hands most of the time. Also, the India returned Sally Hawkins’ spiritualism and psychic trance do amount to poking fun at things Indian.
And, finally when the wedding scene arrives, it is more yuck, grossly yucky with all sorts of food, curries and what have you flying all over the place! Is this fun?
The romantic angle between Notay and Sendhil is creation of convenience. Music is not much help. Performances are of stage variety generally.
For It’s A Wonderful Afterlife, not much of theatre life is likely.