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詳細(xì)劇情
在印度的一個(gè)角落里，一個(gè)男子正在夢(mèng)想……他夢(mèng)見(jiàn)他拿著500個(gè)盧比來(lái)到了他母親的身邊，希望自己和母親不在那么痛苦，可當(dāng)他正要放到母親手里的時(shí)候，卻看到了四周都是和他一樣的孩子，還有十多個(gè)很老很老的老人，這些人立刻把她包圍了，他慢慢的被人群吞噬……
出生于印度一座小鎮(zhèn)上的一個(gè)中產(chǎn)階級(jí)家庭，曾做過(guò)女演員。1976年，她進(jìn)美國(guó)哈佛大學(xué)學(xué)習(xí)并在那里開(kāi)始愛(ài)上了電影制作。學(xué)生時(shí)代她拍攝了一系列關(guān)于當(dāng)代印度社會(huì)的紀(jì)錄片，獲得了一定的影響力。
米拉 奈兒的第一部劇情片《早安孟買(mǎi)》(SALLAM BOMBAY!)，展現(xiàn)了在孟買(mǎi)貧民區(qū)中掙扎的一個(gè)小男孩痛苦的生活，以紀(jì)錄片式的手法和現(xiàn)實(shí)主義風(fēng)格有力地揭開(kāi)了流浪兒悲慘的經(jīng)歷，盡管是處女作，但平穩(wěn)成熟，一舉摘取了1988年坎城電影節(jié)金攝影機(jī)獎(jiǎng)。
自80年代開(kāi)始，米拉步奈兒就成為了印度電影在西方的一個(gè)標(biāo)志性人物。她的其他片子包括《MISSISSIPPI MASALA》、《THE PEREZ FAMILY, KAMA SUTRA》、《A TALE OF LOVE》以及最近為HBO所拍攝的紀(jì)錄片 《THE LAUGHING CLUB OF INDIA》（哈哈俱樂(lè)部）。
她是第一位抱走金獅獎(jiǎng)的女性導(dǎo)演。
長(zhǎng)篇影評(píng)
1 ) 早安，孟買(mǎi)
將近兩個(gè)小時(shí)，心里一直很痛。滿(mǎn)眼都是“掙扎”二字，可影片里所有的人，沒(méi)有一個(gè)能擺脫既定的命運(yùn)：Chillum吸毒過(guò)量而死，只有四個(gè)街童用門(mén)板抬了送他上路；尼泊爾少女滿(mǎn)懷著對(duì)未來(lái)的忐忑和小小憧憬，開(kāi)始接客，只為了騙子的一句承諾，而她不知道這一切不過(guò)是騙子和老鴇迫她就范的溫情伎倆；Manju在街頭被當(dāng)作流浪兒收容，因?yàn)閶寢屖羌伺疀Q定接管監(jiān)護(hù)權(quán)到她滿(mǎn)17歲，也就是說(shuō)今后的十幾年里母女都被剝奪了在一起的機(jī)會(huì)，小姑娘從此不再開(kāi)口說(shuō)話(huà)，一夜之間眼里變成了一片觀之心驚的死寂......影片最后，Ganesh Chaturthi節(jié)到了，上百人抬著Ganesh的神像上街狂歡，這些或面生或面熟的不起眼的小人物，統(tǒng)統(tǒng)淹沒(méi)在人潮之中。而Krishna雖在孟買(mǎi)吃盡了苦頭，卻還是不知道怎么才能賺夠500盧比回家交給媽媽?zhuān)荒艽糇诳帐幨幍慕纸橇鳒I，滿(mǎn)眼迷惘和絕望。
Mira Nair拍記錄片出身，拍這片自然駕輕就熟，戳起最陰暗角落里的那根軟肋，既狠且準(zhǔn)。這是她的第一部劇情片，其實(shí)是故事片和記錄片的混合體，主要演員直接就是找的孟買(mǎi)街童，拍成記錄片也會(huì)是佳作。較之后來(lái)讓她蠻聲海外的《季風(fēng)婚宴》的明快動(dòng)人，《早安孟買(mǎi)》是一派的黯然無(wú)望，卻更加鮮活：滿(mǎn)是蒼蠅的小攤；街角低矮的窩棚；雨后泥濘的街道；橫沖直撞的三輪車(chē)；抄著手嘻笑看熱鬧的路人；殖民時(shí)代的老舊建筑......完全的紀(jì)實(shí)風(fēng)格，記錄最普通的底層生活，因?yàn)檎鎸?shí)，所以愈發(fā)觸目驚心。印度官方和民間都多了些寬容，《早安孟買(mǎi)》固然不像《盲井》一樣難通政審不見(jiàn)天日，Mira Nair也沒(méi)被人不斷指著脊梁骨罵“盡拍些社會(huì)陰暗面去迎合老外”。
2 ) 貧窮
真實(shí)的生活，真實(shí)的貧窮，但最引我注意力的一幕是baba懇求Manju媽媽留下的那一幕，雖然我主觀上很討厭這個(gè)baba,但看到那一幕覺(jué)得貧窮不只是讓你經(jīng)濟(jì)上匱乏，就連人內(nèi)心的感情都充滿(mǎn)著冷漠和無(wú)奈，最后當(dāng)他看到Chillium死后被小孩抬在大街上的時(shí)候，他的內(nèi)心其實(shí)是有一絲內(nèi)疚的。
3 ) 米拉·奈爾的印度圖景
印度獨(dú)特的社會(huì)生態(tài)，在接受了西方教育的印度導(dǎo)演的眼里，具有了文化和人類(lèi)學(xué)觀察的意義。就像國(guó)外長(zhǎng)大的印裔作家喜歡回到印度用現(xiàn)代文明的視角，書(shū)寫(xiě)他們的故土。接受了西方教育的導(dǎo)演同樣不可避免地想要思考印度的歷史和當(dāng)下，與世界主流文化的差異。作為享譽(yù)國(guó)際的印度女導(dǎo)演，哈佛大學(xué)畢業(yè)的米拉·奈爾幾十年如一日地探尋印度人的思想和生活。
米拉·奈爾1957年出生于印度布巴內(nèi)斯瓦爾，父親是公務(wù)員，母親是關(guān)注兒童權(quán)益的社工。青少年時(shí)期，她在教會(huì)學(xué)校度過(guò)。在德里大學(xué)的女子學(xué)院米蘭達(dá)之家，讀到大二時(shí)，她申請(qǐng)到了哈佛大學(xué)的全額獎(jiǎng)學(xué)金，開(kāi)始了她在西方社會(huì)的學(xué)習(xí)和生活。
戲劇演員是米拉·奈爾最初的興趣所在。就讀德里大學(xué)期間，她參與了許多戲劇演出，轉(zhuǎn)到哈佛大學(xué)后，也做了很長(zhǎng)時(shí)間的戲劇演員，并且贏得一些嘉獎(jiǎng)。但是，米拉·奈爾的興趣很快就轉(zhuǎn)到了電影上。她在哈佛的暑期學(xué)校，報(bào)名了攝影課，接觸到紀(jì)錄片制作。不久，她因?yàn)榘l(fā)現(xiàn)自己不習(xí)慣獨(dú)自做攝影，更喜歡與人合作的工作，于是從攝影轉(zhuǎn)到了電影制作。
畢業(yè)前，米拉·奈爾回到印度完成了一部紀(jì)錄短片，以外來(lái)者的視角，拍攝舊德里著名的賈瑪清真寺附近臟亂的街道。接著，她在1982年完成了第二部紀(jì)錄短片《遠(yuǎn)離印度》，主角是名在美國(guó)闖蕩的年輕人，身上背負(fù)著整個(gè)家族的美國(guó)夢(mèng)，而他只是個(gè)地鐵攤販；他和留在印度妻子相親結(jié)婚后，便開(kāi)始了長(zhǎng)期分離的日子，就連她懷孕期間，也很難相聚。
印度對(duì)于米拉·奈爾來(lái)說(shuō)，不僅僅是故鄉(xiāng)，更是值得反思的觀察對(duì)象。她從一開(kāi)始就不是作為虛構(gòu)電影的創(chuàng)作者，把印度作為故事發(fā)生地來(lái)對(duì)待，而是提煉了它長(zhǎng)久以來(lái)存在的問(wèn)題以及外界對(duì)它的看法，進(jìn)行文化反思。這種立場(chǎng)決定了米拉·奈爾后來(lái)的電影中，具有明顯的西方視角。
[遠(yuǎn)離印度]之后，米拉·奈爾繼續(xù)執(zhí)導(dǎo)了兩部反映印度人生活的紀(jì)錄片。在這期間，她萌生了創(chuàng)作首部劇情片的想法，即是她的成名作[早安孟買(mǎi)]。這部電影讓她在電影界一舉成名，獲得了戛納電影節(jié)的金攝影機(jī)獎(jiǎng)，及1989年奧斯卡最佳外語(yǔ)片提名。
孟買(mǎi)是印度最大最富裕的港口城市，富豪云集，同時(shí)它也有著世界最大的貧民窟。天堂和地獄，一線(xiàn)之隔。孟買(mǎi)還有著印度最大的電影產(chǎn)業(yè)中心——寶萊塢，向全世界兜售充滿(mǎn)夢(mèng)想、歌舞升平的印度生活。米拉·奈爾要拍的恰恰是與此相反的故事，孟買(mǎi)在她的鏡頭下是一座吸食平民之血的欲望之都。
巴西電影[街童](1981)啟發(fā)了米拉·奈爾創(chuàng)作[早安孟買(mǎi)]。這部電影用紀(jì)錄片的手法，圍繞一個(gè)十歲的街頭兒童，講述他被犯罪包圍的生活。影片的主要演員與角色的命運(yùn)十分相似，飾演主角的小演員在1987年和警察的對(duì)峙中被槍殺。
那時(shí)，米拉·奈爾剛剛開(kāi)拍[早安孟買(mǎi)]。聽(tīng)到[街童]的主演遇害的消息后，她堅(jiān)定了一個(gè)想法——要用影片的收益幫助街頭兒童，尤其是參演[早安孟買(mǎi)]的演員。她同樣使用了真實(shí)的街頭兒童來(lái)做主演，從孟買(mǎi)招募到了100多名兒童進(jìn)行戲劇培訓(xùn)，其中多數(shù)是流浪兒。
培訓(xùn)的內(nèi)容除了有音樂(lè)、舞蹈和表演外，還包括與他們建立溝通和信任，了解他們的生活和夢(mèng)想。從他們那里，米拉·奈爾聽(tīng)到了關(guān)于他們的父母、毒品、性交易、幫派暴力等故事。心理醫(yī)生也參與到了這個(gè)項(xiàng)目中，為兒童做相應(yīng)的心理輔導(dǎo)。
[早安孟買(mǎi)]反映了孟買(mǎi)長(zhǎng)久以來(lái)的貧窮和犯罪問(wèn)題，寶萊塢的夢(mèng)遙不可及。貧窮的孩子流落街頭，棲身于毒販、吸毒者、皮條客、妓女以及人販子中間。作為主角的一名流浪兒童因?yàn)閼嵟瓱烁绺绲膯诬?chē)，被母親趕出家門(mén)，要求他掙到500盧比才能回家。他跟許多印度人一樣，到最富有的孟買(mǎi)尋找機(jī)會(huì)。在工作的地方，他同情并喜歡上了一名被拐到妓院的少女，想要救她出去，沒(méi)能成功。最后，當(dāng)人們沉浸在慶祝神祗的狂歡中時(shí)，一無(wú)所有的他一個(gè)人坐到街邊，掏出口袋里的玩具，默默哭泣。
這種利用真實(shí)受苦的人表現(xiàn)現(xiàn)實(shí)悲劇的方式難免會(huì)引起剝削苦難的質(zhì)疑。好在米拉·奈爾并未滿(mǎn)足于僅僅拍攝一部電影，她還用這部電影的收益成立了公益組織Salaam Baalak Trust，專(zhuān)門(mén)幫助流落街頭的兒童。直到現(xiàn)在，該組織仍在為印度多個(gè)城市的流浪而提供救助。
沙菲克·賽義德在《早安孟買(mǎi)》里飾演主角——因燒了哥哥的單車(chē)而被趕出家門(mén)的小男孩。他和朋友離家出走，流落街頭，只為看看孟買(mǎi)的繁華。他被選中參與培訓(xùn)，每天的酬勞是20盧比。最后，賽義德因[早安孟買(mǎi)]獲得15000盧比收入，還得到了總統(tǒng)頒發(fā)的表彰。他非常興奮，以為寶萊塢的夢(mèng)想之門(mén)已經(jīng)打開(kāi)。
事實(shí)是，賽義德一直沒(méi)有得到新的工作機(jī)會(huì)。[早安孟買(mǎi)]帶來(lái)的利益和榮耀，就像一場(chǎng)夢(mèng)，醒后，一切回到現(xiàn)實(shí)。1993年，賽義德返回老家班加羅爾，后來(lái)靠開(kāi)突突車(chē)謀生。
(原載《看電影》2022年八月刊)
4 ) 生命的齒輪（英文版）
Everyone in this movie is or was struggling to the reality, but in the end, they’ve all compromised to it.
No.1 a group of young waifs
It’s right after they—a group of young waifs robbed a rich old man. They were taking a luxurious carriage, sitting there singing loudly and with great emotion. When I saw this in the movie, it reminded me about my crazy time after I passed the final exam to attend a high school. We went shopping and had a great time there in the mall, watching movies cheering for all we’ve done for these days. We didn’t go home until late in the midnight that day. It was dark and a little bit cold, freeze kissing our faces sweetly. We caught the last subway and then, we danced and sang in there. It reminded me that they were still kids, no matter what they did before and in order to get money to go home no matter how they got that money. Deep inside their hearts, there were still something soft and warm, with strong hope and stubborn belief. Probably they were kind of unruly, they were full of sunshine. They still had strength to struggle in the reality. That piece of image really shocked me.
No.2 sweet sixteen
There is one picture of her from two different situations remaining in my mind. In the picture there was a young girl sitting in the car, watching out from the window. When she first came here to the bordello, she was in the car watching outside with curiosity and fear. From her clear and scared eyes full of water, I saw her innocence and chasteness as a girl of sixteen who haven’t seen this whole world—the world of darkness and lies. But in the end it’s also her sitting in the car, watching outside from the back window of the car, with sadness and disbelief. Once she felt she would leave the bordello because of the love of Barbar, but she was wrong. When Krishna went back from the prison and tried to get her out of the bordello, she refused. He saw her dressing up and showing him the picture of Barbar and her. She was only sixteen, she came to this place for awhile and then she went back in the same car. Nothing really changed during this time, but she was not sixteen any more, and she was not sweet any longer. That’s what she lost, and what she desired, in this wheel of life. And that’s her life which she couldn’t change.
No.3 Chillum
He sold drug for Barbar, stole money of Krishna’s and finally died because he overate the drugs and the disease in his lung. He was Chillum, one of many Chillums. He’s tried and struggled against his disease and eager for drugs so much that he almost killed himself by hitting the train. But he failed. He stole Krishna’s money and drunk again. No matter how hard he tried, in the end he still couldn’t change his life. But for Barbar, he was not important and not worthy feeling pity for at all. He was just one of the many Chillums in this world. One Chillum fell down, many would stand up. Just like what he showed in the movie. After his death, there was another person took his place called Chillum who drank drugs, worked for Barbar and stole Krishna’s money. It seemed that all got back to the beginning. Someone achieved something in their own way, and didn’t even see the ending directly to their death.
No.4 Rekha
After the whole movie, there’s only one thing about her remaining in my mind that is she was crying in the prison when she saw her daughter there. Probably she did something wrong and bad for this society before, and probably it’s not convenient to have a daughter with her to be a prostitute, but if she lost her, all seemed meaningless then. In the end she wanted to give up this job. From her I’ve seen the true love of a mother like when she was dancing with her daughter and Krishna, and the darkness and resignation to be a prostitute.
No.5 Krishna
I’m so moved by his stubborn and the spirit of “never give up” at first. He wanted to go home so he had to get enough money for the ticket of the train. Whenever he got enough money already, something happened so that he couldn’t really get that in the end. But he didn’t say anything, not even cried. He had a golden heart. When he first saw the sweet sixteen, he decided to save her from the bordello so he played a fire. He was caught by polis just because of Manju. He was bullied in the prison because he wanted to help another kid which was kind of weak there. And in the end he left Barbar because he saved Rekha. But things were not good for him. He wanted to go home badly. Even though he probably did something not that good to others, but it’s all about going home, as if you would get peace if you did so. But he didn’t, even in the end. He was lost in the crowd and finally he was crying, with a stone which he got at the beginning of the movie in his hand. All seemed a wheel. All these kids were trying their best to survive from the reality, but nobody succeeded, and some didn’t even finish that and went directly to the death. Then apparently, he stopped crying. And from then on, he was not a little kid any longer. He has grown up. And his heart has undergone so many troubles that he would no longer be that clear and innocent.
We are taught that to fight is almost always the best way to go through troubles, but indeed we have to say that most of the time the results for anybody are nearly the same. The only difference at this point is you’ll achieve more than others. It’s impossible to refuse the reality. In life, everyone, in the end has been taught to accept the darkness of this world.
5 ) Salaam Bombay
Salaam Bombay describes street children and people from the fringes of society.
In this movie, most female and children characters are victims
Krishna is abandoned by his family and society. He shows innocent and compassionate at the beginning. But finally, his killed Baba. The last screen of this movie is Krishna stares into the camera and weeps.
Sweet Sixteen: a young girl from Nepal kept hostage at the brothel.
Rekha, a prostitute/single mother who lives with her daughter named Manju.
However, most male looks hideous.
Baba is a pimp, who filed to take his family responsibilities;
Chillum, Krishna’s friend, is a drug addict. Finally, he died.
The narratives of victimization guarantee the audience interest and attention, because audiences always like these stories.
It seems real enough. First, audience see Bombay’s drug trade, prostitution, and child labor through the eyes of eleven-year-old boy, Krishna, who has arrived in Bombay after he has been abandoned by his family. Second, the film is directed by an Indian-American filmmaker. She has Indian background; the audiences always believe the director can depict her own culture accurately. Third, at the end of Salaam Bombay, an info shows that the film is for the street children of Bombay. This makes the audience believe that the film is real.
The film seems more about the life of abandoned children on the streets who make a live by selling drugs, enjoying long hours of leisure, drinking and robbing. This is a familiar scenario to the audience and is read into the Indian context. The real questions about children’s right, like job conditions, extortion, underpayment and long hours of work. These are not the point in this movie.
Actually, in most case, parents won’t abandon children. They view their children as an asset to the family and their labor contributes to family income. For society, children are a source of cheap and easily exploited labor in the city.
For this reason I argue that Bombay is not necessarily representative of India as a whole, the plight of Krishna and Sweet Sixteen not necessarily the plight of all Indian children.
In other words, the city, Krishna, and the girl serve as examples of what is just a story of urbanization. It may happen in any country. It could be a story of pathos situated anywhere in the world.
6 ) 早安，赤裸的生命
拍紀(jì)錄片出生的Mira Nair對(duì)印度底層生活陰暗面的捕捉又準(zhǔn)又狠，泥濘的街道上，人們?cè)趬m埃間摩肩接踵，四周是蚊蠅飛舞的攤位，橫沖直撞的三輪車(chē)、殖民地時(shí)期的舊建筑。由毒販、癮君子、皮條客、老鴇、妓女、街童構(gòu)成，在宗教與離散背景之下，一幕幕交錯(cuò)編織的底層生活錄帶有明顯寫(xiě)實(shí)主義色彩。當(dāng)然，本片也意料之中地受到“拍攝印度黑暗面迎合西方觀眾刻板印象”的質(zhì)疑。
當(dāng)家庭和社會(huì)都完全失去庇護(hù)作用，淪為赤裸生命的街童如何奮力生存？失去名字的Krishna從始至終都只想要回到家中，千方百計(jì)掙扎，卻一次次歸零。
片尾，黑壓壓的人群抬著象神 （Ganesh）的神像上街狂歡，這些不起眼的小人物擁擠而瘋狂，很快統(tǒng)統(tǒng)淹沒(méi)在人潮之中。在孟買(mǎi)吃盡了苦頭的Krishna依然沒(méi)有湊到500盧比回家交給媽媽?zhuān)瑺恐鳰anju媽媽的手在人群中松開(kāi)了，兩個(gè)無(wú)助的人被擠散，Krishna又再度回到了孤立無(wú)援的狀態(tài)中。
31歲的導(dǎo)演，流浪兒童，像極了天使之城，只是沒(méi)那么暴力，最讓人痛心之處在于，我觀察，我拍攝，我卻無(wú)法改變，無(wú)能為力，誰(shuí)來(lái)做些什么呢
只有兒童以靈動(dòng)的生命撲騰這片斑斕的世界之海`多舛的命運(yùn) `荒誕的色彩 噴薄而出 光明而合理 花火一般無(wú)聲凄美的短暫童年
即使是現(xiàn)代化如何發(fā)展演變，城市化進(jìn)程如何日新月異，從早安孟買(mǎi)到貧民窟的百萬(wàn)富翁，孟買(mǎi)十幾二十年，甚至是三十多年一直都沒(méi)變的就是這混雜著夢(mèng)想憧憬和野心，思鄉(xiāng)情怯和人情冷暖，底層生活的生存博弈和殘酷。淪陷在愛(ài)情謊言里遂向現(xiàn)實(shí)妥協(xié)的Sweet Sixteen，懷揣著歸家之心淪落到從少管所脫逃的男孩，迷失在人群中的妓女和她被迫離開(kāi)的家和女兒，象神節(jié)上的擁擠狂歡，慶祝著Ganesh的無(wú)邊神力，相形之下是孟買(mǎi)街頭小人物自己都無(wú)從掌控的命運(yùn)。
印度電影中難得的非娛樂(lè)片。發(fā)展中國(guó)家都有同樣的問(wèn)題，警察無(wú)良。從印度看，中國(guó)的計(jì)劃生育政策至少使中國(guó)的文盲率較低，街頭少年較少。
彩色版阿普三部曲，現(xiàn)實(shí)版貧民窟的百萬(wàn)富翁，影片風(fēng)格近于紀(jì)錄片，對(duì)于80年代孟買(mǎi)街頭的描述異常真實(shí)醒目，甚至逼于殘酷。流浪兒童，小老板，妓女，妓女的女兒，皮條客，警察，嫖客，人販子，形形色色的人物在世俗的嬉笑怒罵中卷入現(xiàn)實(shí)的旋窩，下降，沉沒(méi)，掙扎，寂靜無(wú)聲。茶冷心涼，觀之悲矣。。。
比迦百儂高出許多
想從苦日子里翻身去過(guò)好日子總是十分艱難的，多數(shù)時(shí)候我們?cè)谏蠲媲暗膾暝膊⒉粫?huì)有什么實(shí)際效果，可是依然得不斷嘗試，也許你的努力有一天終將會(huì)被看見(jiàn)。你為了夢(mèng)想和生活不斷奔波的樣子總是十分動(dòng)人的，哪怕被一萬(wàn)個(gè)人說(shuō)不可能，也得倔強(qiáng)的去和生活抗?fàn)?，生活從?lái)都是恃強(qiáng)凌弱，只有自身足夠強(qiáng)大了才有可能真正駕馭生活。哪怕無(wú)數(shù)次跌倒，也要在每個(gè)清晨說(shuō)一句早安生活，然后繼續(xù)為之奮斗，你終將可以轉(zhuǎn)危為安，收獲理想幸福生活。
作為上流精英的米拉·奈爾對(duì)印度底層社會(huì)的呈現(xiàn)犀利而富洞察力，那個(gè)貧窮落后、骯臟混亂的孟買(mǎi)第一次震撼了西方社會(huì)。實(shí)景拍攝是為了最大限度的呈現(xiàn)孟買(mǎi)當(dāng)時(shí)的社會(huì)景象：隨處可見(jiàn)的妓院，毒販和流浪兒童?？嚯y深深地烙印在他們身上，小小年紀(jì)卻經(jīng)歷了生活的殘忍和罪惡。真實(shí)的影像再一次彰顯了紀(jì)實(shí)美學(xué)的力度，它向我們證明：現(xiàn)實(shí)主義作為一種創(chuàng)作態(tài)度永遠(yuǎn)不會(huì)過(guò)時(shí)。
悲劇叢生，無(wú)處安放
非常牛逼，超簡(jiǎn)練的筆法描繪出超級(jí)生動(dòng)的人物群像和復(fù)雜的底層生態(tài)。愈是深陷泥澇里的溫情愈令人動(dòng)容，愈是血污里迸發(fā)的幽默歡樂(lè)愈令人感傷。自己被拋棄到大街上，卻還一直要救人。救小妓女，救“哥哥”，救小妹妹，救妓女?huà)寢專(zhuān)l(shuí)也救不了，更救不了自己。開(kāi)場(chǎng)曲是有著印度風(fēng)味的八九十年代強(qiáng)力迪斯科，高調(diào)拉開(kāi)序幕，結(jié)局在象神節(jié)的喧囂中反倒劈出一片寂靜，失去了一切的街童在寂靜中盡情哭泣，緊接著又是堅(jiān)強(qiáng)倔強(qiáng)的神情緩緩流露。片中人說(shuō)小孩子可憐不懂事，渴望回到被虐待的家庭中去，我們的小街童又何嘗不是，永遠(yuǎn)無(wú)法攢夠的500盧比代表對(duì)自己緊閉的家門(mén)，乘以二十則是夢(mèng)中新娘初夜的標(biāo)價(jià)。女性導(dǎo)演對(duì)孩子們細(xì)膩的描摹神乎其神。稍微美中不足的是正邪對(duì)立有點(diǎn)簡(jiǎn)單。
2004年10月8日 沽上暖閣 底層社會(huì)孩子的掠影
印度斷根電影……
"How can the state be her mother?"
40m
“One day in our india, things will be all right.”對(duì)現(xiàn)實(shí)的憤怒和無(wú)奈轉(zhuǎn)化為捅向權(quán)利化身的一刀，結(jié)尾的哭泣的漸漸停止也許是導(dǎo)演對(duì)印度社會(huì)問(wèn)題的拷問(wèn)。PS：在里面發(fā)現(xiàn)了中年P(guān)i。
對(duì)底層，特別是孩子們的刻畫(huà)是非常寫(xiě)實(shí)的。本片中家庭退化到近乎原始的狀態(tài)，失去了完全的庇護(hù)作用，承擔(dān)家庭責(zé)任的人和朋友變成了背叛者和寄生蟲(chóng)。最后在愛(ài)情湮滅失去一切的情況下，男孩會(huì)不會(huì)成為下一個(gè)拋棄一切的人。何以為家2.0
孟買(mǎi)貧民區(qū)殘酷生活實(shí)錄。導(dǎo)演米拉·奈兒畢業(yè)于哈佛大學(xué)，七十年代末開(kāi)始執(zhí)導(dǎo)紀(jì)錄片，這部處女作完成于1988年，手法相當(dāng)成熟。和同時(shí)期本土導(dǎo)演相比，米拉·奈兒的視角具有西方或者說(shuō)是局外人色彩，即能夠直面印度令人絕望的惡劣生存環(huán)境。她也有意識(shí)摒棄人們對(duì)印度電影的刻板印象，不拍攝一場(chǎng)歌舞戲，連音樂(lè)都很少使用。臟亂的街道里，以幾個(gè)流浪兒和一家妓院的生存景象折射貧困的現(xiàn)實(shí)。一個(gè)被趕出家的少年意外流浪到孟買(mǎi)，遇到被賣(mài)進(jìn)妓院不懂印地語(yǔ)的少女。他同情少女，想救她出去，但最終只能眼巴巴看著她被騙為娼。他為掙到回家的500盧比而辛勤工作，留宿街頭。骯臟混亂的貧民區(qū)毀了他的希望，他的憤怒轉(zhuǎn)化為一瞬的暴力。他淹沒(méi)在節(jié)日慶祝的人群里，被人推搡著失去方向，最后一個(gè)人坐在空蕩蕩的街道哭泣。
幾乎是折磨，我受不了影片的殘酷。innocent nepal girl believe in pimp‘ love。manju escape from the chiller room。prostitute lose the custody of her girl。
苦難的底層群像，沉淪，抗?fàn)帲槟?，絕望…
印度苦逼孩子