On est fort éloigné de l'habituel déferlement bigarré et vibrant de danses et de chansons si fréquent dans les productions cinématographiques indiennes de l'époque, pour se retrouver dans une constante et diffuse remise en question des structures même de la société hindoue avec ses pesantes coutumes héréditaires et patriarcales drainant injustice et asservissement, pour une poignée de nantis millénaires...
A beautifully shot drama on India's rigid caste system and the double injustices suffered by women. Benegal captures the farm in subtly modest color compositions, balancing Azmi's gorgeous face and posture, as she is filmed through doors and windows, with long shots of the green fields. Rituals like public shaming are movingly rebuked and the narcissistic, seemingly educated, landlord's son is superbly 'castrated'.
A great film about how India's caste system comes to be reproduced even by those who claim they "don't believe in caste." Shabana Azmi is luminous on screen, and Benegal knows how to make use of it. The finale, especially Azmi's monologue, is powerful and cathartic.
Bellissimo film neorealista indiano che racconta un paese che solo a parole si vorrebbe emancipare dal passato, ma che invece è schiavo della tradizione, delle caste, della disuguglianza e dei ruoli di genere. Ma dietro è possibile intravedere molta umanità, capace di piccoli grandi gesti e grandi meschinità.
Benegal approaches the themes of social normativity in a convincing way, by emphasizing the elusiveness and pervasiveness of traditional law. A desire not conforming to the established order brings forth misfortune. The scent of traditionalism is evident in 'Ankur', but also a subtle critique of the shortness of moral autonomy/egoism, which disrupts a community's delicate balance and introduces conflict.
Great work on the relationships between characters and with their social context – subtle enough to build believable arcs, without ever feeling intrusive. The plot is basically the same old story, but the nuanced screenplay and the smooth pacing make it flow effortlessly. Shabana Azmi doing things has alone more charm than most movies. Wonderful, pastel-colored cinematography.
In a delicate atmosphere where colours and sounds fuse together, we see a particular form of evil developing throughout the film.In the duplicity and uselessness of the young rich man, who cannot and does not want to escape his social status, we see an even more brutal nature than the one he belongs to.
Ser tocado por um filme desse jeito é uma coisa rara nesses tempos de filmes block busters. A fotografia lindíssima, a atuação memorável. E a beleza desse rosto captado de forma tão singela pode distrair sem dúvida dos temas profundos que o filme aborda: a estupidez e soberba das classes ricas, o machismo tão enraizado que ninguém mais questiona. Aqui no Brasil não temos castas porém as diferenças sociais são as mesm
Despite this coming from a time and culture far removed from western culture of today, greatness is earned if it manages to transcend cultural boundaries and make the viewer feel something. The main problem with this film is that the characters are so unlikable (little master especially) that you hardly feel any sympathy for any of them. On the plus side, cinematography is great and the final scene genius.