胆小鬼

　　Amitabha Roy (Soumitra Chatterjee), a sriptwriter has a breakdown near a tea-estate and he is offered a place to stay by the estate manager (Haradhan Banerjee) at his bungalow. When he reaches, Amitabha finds out that the manager is married to his ex-girlfriend, Karuna (Madhabi Mukherjee). The manager has invited Amitabha to assuage his own boredom # and fails to notice the uneasiness between his wife and the guest. The plot unfolds over a period of approximately one-day when they have dinner, breakfast and go for a picnic # and small gestures rekindle Amitabhas memories. Through a series of flashbacks, he remembers their first meeting, courtship and separation (which was solely because of his lack of courage to make a commitment). Amitabhas current affluence and his suspicion of Karunas unhappiness leads him to propose to Karuna once again but she is inclined to believe that the time to muster up courage has gone past.

"画面空间总是共情空间."然而本片频繁的二人-三人构图转换提供了另一种可能性:画内的场景往往并非重点,我们却常被画外者所牵动,情绪不断地由在场指向缺席;片中循环往复的长镜头、前后景空间的利用有力证实了雷伊受到雷诺阿的启发.从始至终最大的悬疑自然是Karuna是否仍爱Ami,是否会随他远去――而结尾对此悬念的处理令人拍案叫绝.

此类故事，卖点是引男入室三角关系的紧张，缺陷是丈夫对于暧昧苗头的迟钝。可他必须要迟钝。叙事上这是剧情发展的前提条件，道德上和价值取向上他是受故事肯定的那一方，迟钝源于善良宽厚。而这也就意味着作为焦点存在的另个男人才是影片剖析批判的重点。他可能胆大按过两遍铃，或者胆怯吞不下安眠药。

　Amitabha Roy (Soumitra Chatterjee), a sriptwriter has a breakdown near a tea-estate and he is offered a place to stay by the estate manager

印度的种姓制度特别适合发挥这样的情景剧， 只需要少数几个人物，扎实的剧本，就觉得特别能折射社会啥的，加之雷伊拍的欧洲味道十足，有的镜头走走位就特么很艺术，看着就档次高。

短小的故事，大段台词，更适合作为话剧演出。为了增加电影感，雷伊用景深镜头和变焦制造空间的纵深感，华丽室内装置是亮点

你的爱情早就湮灭在当年的懦弱里了。片末的安眠药很让人思绪万千呢。“拿来长岛冰茶换我半晚安睡?” 想要睡着还不容易~

双人镜头及三人镜头的构图变化很有意思，这种相对小格局的作品，雷伊也总是在探索镜头构图运动的无限可能性

短小精練，雷拍無對白的場景強過有對白，最後收尾神來一筆，男人就是中二，2019.05.30@光點

1、开场的镜头加音乐一下子就抓住我。2、依然是非常好听的音乐。3、这部的男主也叫Roy。

有点小城之春遇到洪尚秀的感觉了，雷伊的镜头叙事简直太有效了，有几个创意很令人叹为观止。

英文字幕。在爱情方面，男人总是不合时宜，女人想嫁时不敢结婚，女人嫁给别人后又后悔。

10.当一部电影要用大篇幅的对话表演来展现情绪的时候，印度电影便会落入下峰