剧情介绍
Coming from a poor and destitute family, Urvashi is encouraged by her mother, Shanta (Sualbha Deshpande) to be on more than friendly terms with a much older male, Keshav Dalvi (Amol Palekar). Keshav takes a liking to young Urvashi, and encourages her to explore her talents in films, which she does, and does gain popularity, starting as a singer, than accomplishing herself as an actress/singer. She decides to marry Keshav, only to be discouraged by her own mother, but she is strong-willed, and does marry him. She has a baby girl after the marriage, but feels stifled and oppressed with Keshav, and has affairs with her co-star Rajan (Anant Nag), a film producer, Sunil Verma (Naseeruddin Shah), but ends up dissatisfied. Then she meets wealthy Vinayak Kale (Amrish Puri), and decides to settle down with him, little knowing that he is already married to another woman, and also has a son. By the time she finds out it is too late, she has already been accepted in his household, and any woman, whether his own mother(Dina Pathak), his present handicapped wife, and even Urvashi have to follow the rules laid down - no women can leave the house under any circumstances, except after death.
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胤祥
#3rd PYIFF# 回顾。实心实意的五星。“绝不认命”的女演员,辗转于不同的男人的压迫之中,一直无法获得她想要的自由。其实[千年女优]拍成真人版的话,剧作上基本也就如此吧……几个男人各有各的渣,要数那个导演写得最为传神,丈夫的控制狂写得也相当到位。这部片的视听和剧作还是比较洋气的,回忆部分很不错,傍大款部分其实还有个故意的时间上的模糊,戏中戏用得相当之好,加上印度电影本身又多一重歌舞的表意方式,整体文本做得相当之严密。有些观念和场景非常超前!
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2020年12月27日
阿飞
#3rd PYIFF#回顾单元。很具备所谓「新浪潮」的视野,「角色」不仅仅是主角在生活中担当的角色:母亲、妻子、情人或是被公众审视的客体,而同样是一种对自身身份认同的象征。导演想拍的是这样一类人,他们不满足于现有社会角色的生活状态,不断通过各式各样的方法力求实现角色的转变,但很快又再一次沦为厌倦。这不是对于社会主体的一种常规的规训,频繁的角色转变带来的后果,只能是迷失在自我认知和探寻生活价值的旅途中。
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2020年12月27日
朝阳区妻夫木聪
#3rdPYIFF# 技巧还挺好的,但是这个故事看得我太纠结了…感觉片子传递的态度还是有些摇摆或者说暧昧吧,女主角不断逃离,又反复迂回,银幕形象和家庭形象这二者间存在一定的镜像关系,估计可能放在那个年代的印度已经算先锋了吧。不过像这种“男人都是大猪蹄子”的故事,看完了感觉我的恐婚症又加剧了一丢丢……
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2020年12月27日

