量子
缺集或无法播，更换其他线路.无尽
缺集或无法播，更换其他线路.非凡
缺集或无法播，更换其他线路.剧照
剧情介绍
在印度的一个角落里，一个男子正在梦想……他梦见他拿着500个卢比来到了他母亲的身边，希望自己和母亲不在那么痛苦，可当他正要放到母亲手里的时候，却看到了四周都是和他一样的孩子，还有十多个很老很老的老人，这些人立刻把她包围了，他慢慢的被人群吞噬…… 出生于印度一座小镇上的一个中产阶级家庭，曾做过女演员。1976年，她进美国哈佛大学学习并在那里开始爱上了电影制作。学生时代她拍摄了一系列关于当代印度社会的纪录片，获得了一定的影响力。 米拉 奈儿的第一部剧情片《早安孟买》(SALLAM BOMBAY!)，展现了在孟买贫民区中挣扎的一个小男孩痛苦的生活，以纪录片式的手法和现实主义风格有力地揭开了流浪儿悲惨的经历，尽管是处女作，但平稳成熟，一举摘取了1988年坎城电影节金摄影机奖。 自80年代开始，米拉步奈儿就成为了印度电影在西方的一个标志性人物。她的其他片子包括《MISSISSIPPI MASALA》、《THE PEREZ FAMILY, KAMA SUTRA》、《A TALE OF LOVE》以及最近为HBO所拍摄的纪录片 《THE LAUGHING CLUB OF INDIA》（哈哈俱乐部）。 她是第一位抱走金狮奖的女性导演。盲山追金行动变身情人大小谎言 第二季月之暗面G杀基伯龙三日在天空中的太阳甜美错步在魔鬼门前拉字至上第一季热血尖兵过错格桑花之爱在前行冤情必报受伤小酒馆澎堤池虔诚的鳏夫女仆日记1964新男孩碰撞搜查线8位机圣诞绿色的声音妖夜传说疑云背后神迹(2022)治愈系邻居有秘密致命罗密欧鬼停格之都市传说年味小镇谋杀案废柴联盟 第六季肌肉混战美国角斗士传奇足球经理锒铛记孤独的吉姆五大汉融之堂（国语版）下一眉道人（国语版）露露的电影固伦公主府子不语：夜行郎暗里着迷
长篇影评
1 ) 早安，赤裸的生命
拍纪录片出生的Mira Nair对印度底层生活阴暗面的捕捉又准又狠，泥泞的街道上，人们在尘埃间摩肩接踵，四周是蚊蝇飞舞的摊位，横冲直撞的三轮车、殖民地时期的旧建筑。由毒贩、瘾君子、皮条客、老鸨、妓女、街童构成，在宗教与离散背景之下，一幕幕交错编织的底层生活录带有明显写实主义色彩。当然，本片也意料之中地受到“拍摄印度黑暗面迎合西方观众刻板印象”的质疑。
当家庭和社会都完全失去庇护作用，沦为赤裸生命的街童如何奋力生存？失去名字的Krishna从始至终都只想要回到家中，千方百计挣扎，却一次次归零。
片尾，黑压压的人群抬着象神 （Ganesh）的神像上街狂欢，这些不起眼的小人物拥挤而疯狂，很快统统淹没在人潮之中。在孟买吃尽了苦头的Krishna依然没有凑到500卢比回家交给妈妈，牵着Manju妈妈的手在人群中松开了，两个无助的人被挤散，Krishna又再度回到了孤立无援的状态中。
2 ) Salaam Bombay
Salaam Bombay describes street children and people from the fringes of society.
In this movie, most female and children characters are victims
Krishna is abandoned by his family and society. He shows innocent and compassionate at the beginning. But finally, his killed Baba. The last screen of this movie is Krishna stares into the camera and weeps.
Sweet Sixteen: a young girl from Nepal kept hostage at the brothel.
Rekha, a prostitute/single mother who lives with her daughter named Manju.
However, most male looks hideous.
Baba is a pimp, who filed to take his family responsibilities;
Chillum, Krishna’s friend, is a drug addict. Finally, he died.
The narratives of victimization guarantee the audience interest and attention, because audiences always like these stories.
It seems real enough. First, audience see Bombay’s drug trade, prostitution, and child labor through the eyes of eleven-year-old boy, Krishna, who has arrived in Bombay after he has been abandoned by his family. Second, the film is directed by an Indian-American filmmaker. She has Indian background; the audiences always believe the director can depict her own culture accurately. Third, at the end of Salaam Bombay, an info shows that the film is for the street children of Bombay. This makes the audience believe that the film is real.
The film seems more about the life of abandoned children on the streets who make a live by selling drugs, enjoying long hours of leisure, drinking and robbing. This is a familiar scenario to the audience and is read into the Indian context. The real questions about children’s right, like job conditions, extortion, underpayment and long hours of work. These are not the point in this movie.
Actually, in most case, parents won’t abandon children. They view their children as an asset to the family and their labor contributes to family income. For society, children are a source of cheap and easily exploited labor in the city.
For this reason I argue that Bombay is not necessarily representative of India as a whole, the plight of Krishna and Sweet Sixteen not necessarily the plight of all Indian children.
In other words, the city, Krishna, and the girl serve as examples of what is just a story of urbanization. It may happen in any country. It could be a story of pathos situated anywhere in the world.
3 ) 只有改造
如果你生在一种环境
那么必定去改造
缺少食物的原始人用工具吃掉野兽
吸食鸦片的官员用戒掉开始新生活
2009 开始你的新生活
无论那些过时
伤感
颓废
面对你生活中的矛盾 去改造
4 ) 生命的齿轮（英文版）
Everyone in this movie is or was struggling to the reality, but in the end, they’ve all compromised to it.
No.1 a group of young waifs
It’s right after they—a group of young waifs robbed a rich old man. They were taking a luxurious carriage, sitting there singing loudly and with great emotion. When I saw this in the movie, it reminded me about my crazy time after I passed the final exam to attend a high school. We went shopping and had a great time there in the mall, watching movies cheering for all we’ve done for these days. We didn’t go home until late in the midnight that day. It was dark and a little bit cold, freeze kissing our faces sweetly. We caught the last subway and then, we danced and sang in there. It reminded me that they were still kids, no matter what they did before and in order to get money to go home no matter how they got that money. Deep inside their hearts, there were still something soft and warm, with strong hope and stubborn belief. Probably they were kind of unruly, they were full of sunshine. They still had strength to struggle in the reality. That piece of image really shocked me.
No.2 sweet sixteen
There is one picture of her from two different situations remaining in my mind. In the picture there was a young girl sitting in the car, watching out from the window. When she first came here to the bordello, she was in the car watching outside with curiosity and fear. From her clear and scared eyes full of water, I saw her innocence and chasteness as a girl of sixteen who haven’t seen this whole world—the world of darkness and lies. But in the end it’s also her sitting in the car, watching outside from the back window of the car, with sadness and disbelief. Once she felt she would leave the bordello because of the love of Barbar, but she was wrong. When Krishna went back from the prison and tried to get her out of the bordello, she refused. He saw her dressing up and showing him the picture of Barbar and her. She was only sixteen, she came to this place for awhile and then she went back in the same car. Nothing really changed during this time, but she was not sixteen any more, and she was not sweet any longer. That’s what she lost, and what she desired, in this wheel of life. And that’s her life which she couldn’t change.
No.3 Chillum
He sold drug for Barbar, stole money of Krishna’s and finally died because he overate the drugs and the disease in his lung. He was Chillum, one of many Chillums. He’s tried and struggled against his disease and eager for drugs so much that he almost killed himself by hitting the train. But he failed. He stole Krishna’s money and drunk again. No matter how hard he tried, in the end he still couldn’t change his life. But for Barbar, he was not important and not worthy feeling pity for at all. He was just one of the many Chillums in this world. One Chillum fell down, many would stand up. Just like what he showed in the movie. After his death, there was another person took his place called Chillum who drank drugs, worked for Barbar and stole Krishna’s money. It seemed that all got back to the beginning. Someone achieved something in their own way, and didn’t even see the ending directly to their death.
No.4 Rekha
After the whole movie, there’s only one thing about her remaining in my mind that is she was crying in the prison when she saw her daughter there. Probably she did something wrong and bad for this society before, and probably it’s not convenient to have a daughter with her to be a prostitute, but if she lost her, all seemed meaningless then. In the end she wanted to give up this job. From her I’ve seen the true love of a mother like when she was dancing with her daughter and Krishna, and the darkness and resignation to be a prostitute.
No.5 Krishna
I’m so moved by his stubborn and the spirit of “never give up” at first. He wanted to go home so he had to get enough money for the ticket of the train. Whenever he got enough money already, something happened so that he couldn’t really get that in the end. But he didn’t say anything, not even cried. He had a golden heart. When he first saw the sweet sixteen, he decided to save her from the bordello so he played a fire. He was caught by polis just because of Manju. He was bullied in the prison because he wanted to help another kid which was kind of weak there. And in the end he left Barbar because he saved Rekha. But things were not good for him. He wanted to go home badly. Even though he probably did something not that good to others, but it’s all about going home, as if you would get peace if you did so. But he didn’t, even in the end. He was lost in the crowd and finally he was crying, with a stone which he got at the beginning of the movie in his hand. All seemed a wheel. All these kids were trying their best to survive from the reality, but nobody succeeded, and some didn’t even finish that and went directly to the death. Then apparently, he stopped crying. And from then on, he was not a little kid any longer. He has grown up. And his heart has undergone so many troubles that he would no longer be that clear and innocent.
We are taught that to fight is almost always the best way to go through troubles, but indeed we have to say that most of the time the results for anybody are nearly the same. The only difference at this point is you’ll achieve more than others. It’s impossible to refuse the reality. In life, everyone, in the end has been taught to accept the darkness of this world.
5 ) 贫穷
真实的生活，真实的贫穷，但最引我注意力的一幕是baba恳求Manju妈妈留下的那一幕，虽然我主观上很讨厌这个baba,但看到那一幕觉得贫穷不只是让你经济上匮乏，就连人内心的感情都充满着冷漠和无奈，最后当他看到Chillium死后被小孩抬在大街上的时候，他的内心其实是有一丝内疚的。
6 ) 姐姐
姐姐，我看见的一如你裙裾未掩。
有时人们的目光真实的如同一柄剑。
你赤着足跌落在水中的样子正被他们想象刺穿。
街上的霓虹已悄然点亮，闪亮。
你的皮短裙还在箱子的一角生锈发光。
他们说苍蝇蚯蚓都会蜿蜒地给人们带来欲望。
蜗牛还在爬行，失落的还在等待受伤。
沉甸甸攥在手心的一定会是钱。
沉甸甸的攥在手心里一定会是权。
姐姐，街上的霓虹早已闪亮。
可我赤裸的心却泛出了悲凉。
我哭是我失去了应有的痛苦。
我哭是因为我看不清我的影子还在忙碌。
你走过去的那个晚上我再也没看见什么衣裳。
而街上的霓虹还在闪亮，闪亮。
2004年10月8日 沽上暖阁 底层社会孩子的掠影
比迦百侬高出许多
40m
作为上流精英的米拉·奈尔对印度底层社会的呈现犀利而富洞察力，那个贫穷落后、肮脏混乱的孟买第一次震撼了西方社会。实景拍摄是为了最大限度的呈现孟买当时的社会景象：随处可见的妓院，毒贩和流浪儿童。苦难深深地烙印在他们身上，小小年纪却经历了生活的残忍和罪恶。真实的影像再一次彰显了纪实美学的力度，它向我们证明：现实主义作为一种创作态度永远不会过时。
几乎是折磨，我受不了影片的残酷。innocent nepal girl believe in pimp‘ love。manju escape from the chiller room。prostitute lose the custody of her girl。
彩色版阿普三部曲，现实版贫民窟的百万富翁，影片风格近于纪录片，对于80年代孟买街头的描述异常真实醒目，甚至逼于残酷。流浪儿童，小老板，妓女，妓女的女儿，皮条客，警察，嫖客，人贩子，形形色色的人物在世俗的嬉笑怒骂中卷入现实的旋窝，下降，沉没，挣扎，寂静无声。茶冷心凉，观之悲矣。。。
只有儿童以灵动的生命扑腾这片斑斓的世界之海`多舛的命运 `荒诞的色彩 喷薄而出 光明而合理 花火一般无声凄美的短暂童年
印度断根电影……
苦难的底层群像，沉沦，抗争，麻木，绝望…
“One day in our india, things will be all right.”对现实的愤怒和无奈转化为捅向权利化身的一刀，结尾的哭泣的渐渐停止也许是导演对印度社会问题的拷问。PS：在里面发现了中年Pi。
即使是现代化如何发展演变，城市化进程如何日新月异，从早安孟买到贫民窟的百万富翁，孟买十几二十年，甚至是三十多年一直都没变的就是这混杂着梦想憧憬和野心，思乡情怯和人情冷暖，底层生活的生存博弈和残酷。沦陷在爱情谎言里遂向现实妥协的Sweet Sixteen，怀揣着归家之心沦落到从少管所脱逃的男孩，迷失在人群中的妓女和她被迫离开的家和女儿，象神节上的拥挤狂欢，庆祝着Ganesh的无边神力，相形之下是孟买街头小人物自己都无从掌控的命运。
印度电影中难得的非娱乐片。发展中国家都有同样的问题，警察无良。从印度看，中国的计划生育政策至少使中国的文盲率较低，街头少年较少。
"How can the state be her mother?"
孟买贫民区残酷生活实录。导演米拉·奈儿毕业于哈佛大学，七十年代末开始执导纪录片，这部处女作完成于1988年，手法相当成熟。和同时期本土导演相比，米拉·奈儿的视角具有西方或者说是局外人色彩，即能够直面印度令人绝望的恶劣生存环境。她也有意识摒弃人们对印度电影的刻板印象，不拍摄一场歌舞戏，连音乐都很少使用。脏乱的街道里，以几个流浪儿和一家妓院的生存景象折射贫困的现实。一个被赶出家的少年意外流浪到孟买，遇到被卖进妓院不懂印地语的少女。他同情少女，想救她出去，但最终只能眼巴巴看着她被骗为娼。他为挣到回家的500卢比而辛勤工作，留宿街头。肮脏混乱的贫民区毁了他的希望，他的愤怒转化为一瞬的暴力。他淹没在节日庆祝的人群里，被人推搡着失去方向，最后一个人坐在空荡荡的街道哭泣。
31岁的导演，流浪儿童，像极了天使之城，只是没那么暴力，最让人痛心之处在于，我观察，我拍摄，我却无法改变，无能为力，谁来做些什么呢
对底层，特别是孩子们的刻画是非常写实的。本片中家庭退化到近乎原始的状态，失去了完全的庇护作用，承担家庭责任的人和朋友变成了背叛者和寄生虫。最后在爱情湮灭失去一切的情况下，男孩会不会成为下一个抛弃一切的人。何以为家2.0
想从苦日子里翻身去过好日子总是十分艰难的，多数时候我们在生活面前的挣扎也并不会有什么实际效果，可是依然得不断尝试，也许你的努力有一天终将会被看见。你为了梦想和生活不断奔波的样子总是十分动人的，哪怕被一万个人说不可能，也得倔强的去和生活抗争，生活从来都是恃强凌弱，只有自身足够强大了才有可能真正驾驭生活。哪怕无数次跌倒，也要在每个清晨说一句早安生活，然后继续为之奋斗，你终将可以转危为安，收获理想幸福生活。
悲剧丛生，无处安放
非常牛逼，超简练的笔法描绘出超级生动的人物群像和复杂的底层生态。愈是深陷泥涝里的温情愈令人动容，愈是血污里迸发的幽默欢乐愈令人感伤。自己被抛弃到大街上，却还一直要救人。救小妓女，救“哥哥”，救小妹妹，救妓女妈妈，但谁也救不了，更救不了自己。开场曲是有着印度风味的八九十年代强力迪斯科，高调拉开序幕，结局在象神节的喧嚣中反倒劈出一片寂静，失去了一切的街童在寂静中尽情哭泣，紧接着又是坚强倔强的神情缓缓流露。片中人说小孩子可怜不懂事，渴望回到被虐待的家庭中去，我们的小街童又何尝不是，永远无法攒够的500卢比代表对自己紧闭的家门，乘以二十则是梦中新娘初夜的标价。女性导演对孩子们细腻的描摹神乎其神。稍微美中不足的是正邪对立有点简单。
印度苦逼孩子