Director:
Daisy von Scherler MayerGuión:
Tracey JacksonCámara:
John de BormanMúsica:
David CarbonaraReparto:
Heather Graham, Marisa Tomei, Jimi Mistry, Michael McKean, Dash Mihok, Emil Marwa, Ajay Naidu, Dwight Ewell, Christine Baranski, Sakina Jaffrey (más)Streaming (1)
Sinopsis(1)
Ramu Gupta (Jimi Mistry) abandona Delhi para cumplir su sueño de llegar a ser una super estrella de cine en Nueva York... pero el destino le tiene guardados unos planes mucho más divertidos. Con la ayuda de una estrella del porno (Heather Graham) y de una moderna princesa de Manhattan (Marisa Tomei), Ramu se encarga de proporcionar placer a los más vividores de la ciudad de una manera que jamás había podido imaginar... ¡convirtiéndose en el mismísimo Gurú del Sexo oficial de Nueva York! (Universal Pictures España)
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Reseñas (2)
There are plenty of romantic comedies that entertain but are forgotten after a while. The Guru is a slightly different case. It stands out for its incredibly original execution. The story of an Indian man conquering America and porn actresses is indeed brilliantly executed. Directorially, musically, and especially choreographically. The script captivates not only with the filming of a porn movie but also with the perfect characters of Ramu and Sharon. Their behavior is firmly framed by romantic barriers, but the perfect acting of Heather Graham and Jimi Mistry elevates it just a little bit higher. Thanks to them, their characters are not lifeless puppets but people who live their "movie" lives. The Guru is a comedy that will definitely entertain you at first glance, but I can't guarantee that you will have the same fun watching it a second time.
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At first glance, there’s not much to it, but in retrospect, the romantic comedy The Guru (2002) offers a glimpse of several phenomena. One of these is the penetration of porn into mainstream genres as acceptable subject matter, with films such as Zack and Miri Make a Porno (2008), Meet Monica Velour (2010), Lovelace (2013), and the series Swingtown (2008) similarly operating on the edge. Another theme could be the gradual penetration of Western fascination with Bollywood during Monsoon Wedding (2001) and the subsequent Bride and Prejudice (2004). As a third theme, we have the extreme emaciation of every actress who aspired to get a leading, or at least prominent role (we send our regards to Brittany Murphy). And finally, of course, there is the extreme esoteric.
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