Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’
The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.
很多影像非常具有冲击性和艺术感，不同于传统的宝莱坞影片。女性自我拯救的故事。
片中无声表演动作设计和调度都太棒了！可惜剧作是爽片风。
气质打造得比较成功 但是一些情节转折 包括人物的思想转变方面 描述得并不够清晰自然。
主角很美，演技也好，构图帧帧绝美，有史诗级那味儿了。
其实也不是女权，Gangubai为的只是卡马提普拉4000个妓女的权利和尊严。
最后她站在车子上，车子缓缓开着，旁边都是为她鼓掌为她加油的人，好感动啊。
女主很美加一星，影片本身比较失望，非一般的冗长。
虽然但是 没有人想掉进深渊 掉进去了还能勇敢面对的才是生活真正的赢家
但是小时候跟着大孩子走丢过
虽然是逻辑感不强的大女主爽片，但题材不错，立意动人，女主也蛮好看的。
有时候我们会悲哀地看到，思想一旦深入人心，即便是同性也会成为帮凶。
沒有一部印度片是不唱歌不跳舞的，就算在嚴肅在恐怖一定都要唱歌跳舞！哈哈哈哈！女權的意識崛起讓我覺得印度已經逐漸在走向文明進步的年代！反觀某國只是越來越退步，相關題材都沒有。
人家印度的事儿你少管，不至于非得用本国国情思维去理解她们做事逻辑。尽管有诸多缺陷，但不妨碍做一个美梦。
你甚至分不清这是真实的个人传记还是艺术杜撰。想起来国内的一部也算同题材电影，姐姐妹妹站起来。
印度导演真的有把无数种色彩放在一起也很和谐的天赋
“甘谷没有垂头丧气，她仍昂首挺胸”直击灵魂。女主张弛有度，演的很好。宝莱坞很会说故事，一个失足妇女的故事都那么悲壮有力。
后半段有点太顺利哈哈 但确实挺传奇的 有几个场景真的很美很飒很有气势啊
当个爽文看就行，歌舞场面很优秀，其它的其实很表面。
看到印度的报道总是女性地位十分低下
“学校在妓院旁存在了40年，怎么没有带来点好的影响？”
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