Hand-held shots--real ones--begin the movie, which has, throughout, a low-budget, technically unsophisticated feel. (There is never anything unsophisticated about the interactions of M-I characters.) The story, of a successful, narcissistic English writer on the loose in India, certainly had traction in the 1970's when the movie was made. The West was just beginning to discover the "magical East" and the ancient sensuality of that culture. Plenty of rock and movie stars were journeying there on spiritual quests. So, for me, the story was not "implausible." In fact, it seems to be about the human problem which absorbs M.I., that being the emotional difficulties of a set of flawed personalities, usually with caste/class inequality which makes the difficulty insurmountable. Here, the miscarriage of intent is heightened by a nasty cross-cultural collision. The handsome Bollywood star and the poor writer both go off their cultural rails, while the western woman is selfish, impulsive, and unaware. As one of the Indian characters who reads her palm says, she's not truly a bad person who acts with intentional malice, but her lack of self-knowledge causes bad things to happen around her. She's as innocent as a spider eating flies--it's just her nature--but her emptiness drains and deforms her lovers. Plot-wise, the story reminded me of "Jules & Jim," where another three-way love affair comes to a bad end. I'm glad I've finally seen this early work of M.I., but the movie shows it's age.