Siddartha (Dhritiman Chatterjee) is forced to discontinue his medical studies due to unexpected and brutal death of his father. He has to now find a job in stead. In one job interview, he is asked to name the most significant world event in the last ten years. His reply is 'the plain human courage shown by the people of Vietnam', instead of the expected - man landing on moon. The interviewer asks is he is a communist. Needles to say that he does not get the job.
He reaches a coffee shop where he is offered to work for the communist party. When he does not show any interest the party leader tells him about an opening for a medical representative. To escape from the heat and have a snooze, he goes in to a cinema. As a government propaganda newsreel is being shown before the feature, a bomb explodes in the cinema hall. In the stampede that follows, Siddartha, breaks his watch. He goes to a watchmaker but he cannot afford the repairs.
Waiting to cross the road, he notices a sexy girl. He drifts back to his days as a medical student in a flashback. The professor is explaining anatomy of female breast. Many flashbacks and dreams occur to Siddartha through the film.
On his way to hostel, he has an encounter with some hippies. Along with an ex-classmate, he goes out to see a porn film but to their disappointment, the film turns out to be not-so-pornographic.
In such constant wandering in a Calcutta, disintegrated relationships with his sister and a Naxalite (militant communist) brother, his friendship with Keya is only thing that keeps him sane.
Keya is a simple girl. They enjoy each other's company but they cannot make any commitment to each other due to the circumstances.
After yet another attempt at a job interview, Siddartha leaves the big city to take a modest job of a salesman in a far off small town. He writes to Keya that he still cherishes their relationship. And that he has heard that bird call again but this time it is for real, and not his mind. After completing the letter, he comes out to the balcony of his modest room. The bird calls again. He also hears the sombre chants of a funeral procession. As he turns to the camera, the picture is frozen.
This is the first film of the Calcutta Trilogy. The other two were and Seemabaddha (Company Limited, 1971) and Jana Aranya (The Middle Man, 1975). All the three films study the effect the big city of Calcutta has on the educated youth and the price it extracts from them.
The seventies were a difficult period for India and West Bengal. The Corruption was rampant; the Naxalite movement had created havoc in Calcutta. In fact, they had turned parts of Calcutta into 'liberated zones'. By the time the Naxalite movement died down, in 1975, Mrs. Indira Gandhi (then, Prime Minister of India) suppressed the fundamental rights and declared "Emergency" for her own political survival. Her son, Sanjay Gandhi became a dictator of sorts without any official designation. The opposition leaders were thrown into prisons.
About his social responsibilities as a filmmaker, in an interview with Cineaste magazine, Ray commented, "You can see my attitude in The Adversary where you have two brothers. The younger brother is a Naxalite. There is no doubt that the elder brother admires the younger brother for his bravery and convictions. The film is not ambiguous about that. As a filmmaker, however, I was more interested in the elder brother because he is the vacillating character. As a psychological entity, as a human being with doubts, he is a more interesting character to me. The younger brother has already identified himself with a cause. That makes him part of a total attitude and makes him unimportant. The Naxalite movement takes over. He, as a person, becomes insignificant."
In a letter to Seton in 1970, Ray wrote that Pratidwandi was the most provocative film he had made till then. The film is said to have evoked extreme reactions. "People either loved the film or hated it", Dhritiman Chatterjee told Andrew Robinson, Ray's biographer.
他们之后 又拍了一部非常之难看的电影 不是一般是难看 是糟糕 是非要沾上点费里尼的气息才能算记忆的电影 我甚至觉得前几部高分电影都是两个人拍的…
我喜欢灰狼和狐狸戴安跳舞那一段，和最后陨石被炸狂风席卷时，蛇吐信子的那个场景，这个吐信子真是好酥啊。戴安狐狸是全片我最爱的角色，狂拽的猩红之爪是她，迷人大气的州长也是她，啊，我的女神，真是拜倒在你的裙子和战衣之下了。还有几句话我也喜欢，“都是我们光明正大偷来的。”“现在我知道被偷是什么感觉了。”哈哈，你们太可爱了。还有那个鲨鱼也太有戏了，直接来了一个即兴表演“我要生孩子了！”而奖杯从裙子里掉出来后，“我的宝贝！”以及后来哇哇大哭时用小小的手拿着冰棍嗦嗦的样子，这段萌死我了，那么庞大的身躯撅着大嘴嗦着小冰棍。蜘蛛妹妹毛茸茸的，和戴安狐的那趟“女生之旅”看着好爽，下次带我一个啊。我就喜欢看帅妹子飚摩托车，比如超人总动员2的弹力女孩。都是又飒又帅又美又性感。
“通过我进入苦难之城，通过我进入永恒的痛苦，通过我你就能在迷失的人群中穿行。”莫名产生了对那不勒斯的「乡愁」。
7，故事越来越不思进取了，曾经解构童话“毁”童年的梦工厂早已不在了啊，倒是花活越发娴熟，新画风的视觉冲击力可以的，不过这白西装，这该死的魅力，克鲁尼yyds
❶意大利一家人；
亲子影厅连看两场，160块钱换取孕期的紧张不安一惊一乍……真想不出身家过亿的家庭有必要做这种事，何况还怀着孩子，怀着四代独苗
索伦蒂诺的电影很擅长用神迹时刻来提升电影的情感层次，尤其在《年轻的教宗》里对神迹的应用达到了最佳，而本片索伦蒂诺却减少了对这种神迹的应用，他回到故乡重新审视自己的少年时代，那些隐秘的伤心往事和成为导演的铺垫之路都在那不勒斯的海水中慢慢浮现。电影很私人，涉及导演自我往事的映射，也因此很轻柔。费里尼和马拉多纳，分别在电影技法上和往事中像两尊神像是精神的图腾也是模糊时光的印证。上帝之手的隐喻潜藏了所有对命运的唏嘘，而在离乡的路上，少年的心绪和时光也一去不再复返。但这部电影对于索伦蒂诺来说所表达的还差很多，甚至有些对索伦蒂诺电影的重复审美疲劳。
救命，也太套路了吧，毫无惊喜(除了偶然几个点还挺搞笑的……)
furry狂喜。
角色有魅力:痞帅的狼，看起来凶凶的大鲨鱼，最强黑客的蜘蛛，暴躁的食人鱼，仗义的蛇。
願意付票房的好爆米花，狼叔狐姐痞帥，搞笑橋段也挺多。
想来看索伦蒂诺的意大利和花老头，结果看了个童年回忆录。小卷毛长得像戏梦巴黎里的弟弟，笑的时候又像小蜘蛛。看完抑郁了，tm不就是现实太痛苦了我才来看电影的吗？！你就给我看这个？？？这不是往伤口上撒盐么？虽然人物塑造主观滤镜略重，但不影响杀伤力啊。。。
虽然索伦蒂诺说他拍这部电影是受到了阿方索拍《罗马》的启发和鼓励，但我觉得这部可比《罗马》要诚挚且精彩得多了。看得出来，索伦蒂诺拍这部电影是献给父母的（尤其是母亲），是献给那些形形色色的亲戚、邻居和狐朋狗友的，是献给那不勒斯这座城市的（可能还要算上一点点罗马）。更是献给青春、足球（尤其是马拉多纳）和电影的。归根结底，它是献给索伦蒂诺自己的。
有的桥段挺酷的，有的只顾着爽，硬伤太多了。为了awkwafina看的，可惜小蜘蛛戏份不多。坐我旁边的小姐姐看得很开心，全程“太酷了吧”说不停。
适合在连续工作9天后，和男朋友一起放空大脑看的电影。
坏蛋联盟的转型之路，挺有意思的一部动画，被所有人都视为坏人的人心里也会有朵善良之花，而被誉为善良模范的人或许才是真的坏人
工整流畅的福瑞控同人，到了动画里奥卡菲娜还是那个边缘亚裔技术宅角色，这就是好莱坞
无病呻吟，和莫莱蒂一比高下立判。会学费里尼也不代表会拍电影，下次别拍了。
3.5/5 套路接套路 但大长腿狼仔帅帅😍
绝大部分人这一辈子需要破处两次，一次靠自己，一次靠上帝。
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