绿洲乐队
发表于6分钟前
回复
:宝钗去看宝玉,宝玉梦见黛玉来看他,晚上送帕给黛玉试探,黛玉在帕上题诗。袭人道王夫人出诉说对宝玉的担忧,王夫人很赞赏,给了她妾的许诺。薛姨妈,宝钗错怪了薛蟠,薛蟠说出宝钗金玉良缘的打算来气宝钗,宝钗委屈。螃蟹宴后,刘姥姥再进贾府,受到贾母款待。贾母带着刘姥姥游大观园,并要求惜春给刘姥姥画大观园图。鸳鸯和凤姐撺掇刘姥姥出丑给贾母作乐,众人其乐融融。一行人来到藕香榭喝酒行令,黛玉无意中失口说出《牡丹亭》中的词句。刘姥姥在藕香榭宴席上暴饮套杯美酒、莫辩茄菜何料,笑得众人前仰后合。妙玉登场,超凡出尘,竟胜宝黛,令宝玉出离神往。刘姥姥吃坏了肚子,醉眠怡红院。当夜,宝钗借黛玉行白天酒令之事,深情劝诫“女子不可看杂书”,黛玉深深感激。贾母为凤姐大办生日,学小家子凑份子,举府眷仆,纷纷迎合,尤氏总理。凤姐实仍暗中操控。小小“份儿钱”,暗藏大家族各路玄机。庆生当日,亦是金钏儿忌日,宝玉却全身缟素,茗烟快马奔至水仙庵,深情泪祭,唯黛玉心知肚明。贾琏与鲍二家的在房内白日偷欢,凤姐闻之撒泼大闹,更加罪于平儿。平儿委屈不尽,以死相向。贾琏恼羞成怒,拔剑威胁。凤姐向贾母求救。宝玉深情无限,抚慰平儿,平儿受宠若惊。在贾母微笑监督之下,贾琏、凤姐、平儿重修旧好。三人回房,惊闻鲍二家的上吊自尽。新年将至,庄头乌进孝来宁府交租,因旱涝之故,上缴的租子银两并未达到贾珍预算。租子的一年不如一年引发贾珍不满。管理家庙的贾芹去贾珍处领年货,反遭贾珍一顿数落。除夕夜,贾母带领众多儿孙去宁国府宗祠祭祖,履行两府每年的传统。元宵晚宴上,黛玉不顾体统,众目睽睽之下让宝玉代其喝酒。因女先儿的一出《凤求凰》,贾母掰谎,批才子佳人。凤姐连说两个“散了”的笑话,预示着盛宴必散的结局。
狄昂华薇克
发表于6分钟前
回复
: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.