This film by somewhat neglected Indian director Ritwik Ghatak is one of the most unusual I have ever seen. The stories are set among the harsh life around the banks of Bangladesh's rivers (one of the poorest regions of the world). It tells several gruesome tales: abductions, escapes, living among strangers, death, though the characters go through this with the resignation of someone who knows that life is hard and always have been. Now, having seen this film more than a decade ago, I cannot recall all the details. But the unusual part is the way this story is told. It puts a character at the center of the story for, say, twenty minutes, and then it moves to another character, who was playing a minor role in the first story. And then to another character, and so on. It is a collection of stories, but loosely (or not so loosely interconnected). Overall, a fine tapestry of life in one of the poorest parts of the world.
摄影真棒
很乌鲁谢夫斯基的摄影风格，但这已经是1973年，故事说成这样我真不好帮你圆场
一个女人的故事 摄影堪比 我是古巴 但比古巴那种意识形态更充满情感和情绪 各方面都极为优秀 就爱这种st
阿德维塔·M·伯曼同名原著改编，有史诗质感的非史诗情节剧。讲述寡妇西芭娜含辛茹苦抚养自己暗恋之人的孩子，因为他在结婚后第一天就被强盗劫走新娘，变得疯疯癫癫。大难不死的孤儿母亲回来寻夫，却只得在临死一刻才相认。1、伽塔克将孤儿母亲的悲惨命运透过象征手法（地主抢占土地村民勾心斗角影射至印度社会分裂的现实境况；女性苦难经历折射底层人民悲惨生活）对接古印度神话，以严酷的写实性质回归印度戏剧传统。2、伽塔...
有一种独特的、发明性的抒情语言，和《雁南飞》《李润福的日记》一样，都给人以宗教性的感受，这宗教又不是基督教式的，而是关于人在世界上的微小生存。
