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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作为“角色”的女性的斗争与回归,比《籽苗》精彩,很多地方让人想到雷伊的《大都会》。虽然结构头重脚轻,但戏中戏歌舞和各种调度设计都很有趣,不知是修复问题还是导演有意的设计,电影中现实线的色调也确实很像台词所说"with rose tinted glasses"……看来近年的印度女性电影确实是一直在开倒车。
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2020年12月27日
Camellia
PYIFF 女性不断在厨房和影棚之间的徘徊与跳跃,最终自由的定义也终究又归结到了家庭尊重上。属于那个时代的独特视角,三面镜子看到了去年在马里昂巴德的感觉~镜像和自我在对视的过程中最终还是没有走向弥合,还是朝着分裂不断奔涌前进了~
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2020年12月27日
失真
#PYIPP#DAY1。同样的导演却玩出了不同的风格,如果《籽苗》是小津式,那么《角色》则是费里尼与伯格曼,注重回忆与往事,虚幻与梦境,导演试图从记忆深处寻找男女关系之间矛盾的解…
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2020年12月27日