Still chewing on Pratidwandi.
What is it that Siddharth is unsure of? That his kid-sister is a sexual object? That her boss is exploiting her? Or that she is 'matter of fact' about this? Or that she is indeed the one calling the shots? (does mother want me to quit? - she brushes aside her mothers' concerns). The coincidence of the 'working woman' and 'stepping out to work' has scarcely been depicted so strongly.Quote:
Dada, do you think I can become a model?
Model?..What if they ask you to wear something ridiculous?
Like what?
Like nearly nothing at all
My figure isn't that bad
Where are the lines drawn? Is modeling unacceptable if she is up for it? If not, then isn't the family's 'acceptability' of her current working condition itself soaked in self-deception of 'this far and no further'. Isn't the objection stronger than the kid brother putting his life on the line what he believes.
And that dream sequence- one of the best ever dreamy yet coherent and compelling. The shot down dream brother is attended to by a 'nurse'. A nurse whose 'maternal' instincts are suspect given she moonlights as a prostitute. Well isn't that the fundamental question deep seated in the male about: working women in general !!! Is that Siddhartha comes face to face with.
Watching his sister practicing dance in the terrace, you really wonder if he HAD to quit medicine as he says. Doesn't she seem to able to find means to climb social ladder?
How can a Siddharth ever be angry when he sees all sides of the issue? He sees the driver and the girls in the car. When you see everything you can do nothing. Sees breasts and thinks of glands and ducts. Is he is just making a medical point when saying 'all people are the same'. Though Keya does try to point out the absurdity of it, it only seems to strengthen the point he is making !!
And they remain where they are till the end of the movie. There isn't enough from each other to move on. That shot of the crowded maidan from the terrace. The expanse, the crowd, the loneliness, the companionship... o forget it...just fantastic.
And the throwbacks to the kids scenes are well done. The divergent expressions to the beheading of the hen etc. :bow:
The conversations are perfect. Not a single place simply 'pushing' things forward. And many places where something is not spoken, but that ambiguity is not confusing but exactly what makes it interesting.
Sister's boss goes out to answer the 'trunk call' and we hear offscreen : 'I have spoken to him, it is all settled'.
Now there is absolutely no need to jump to a conclusion that he is referring to Siddharth. But he thinks so and leaves in a huff. Or he thinks it is only a possibility but the pause in conversation has given him the time to assess how he has failed to make the conversation a 'confrontation' like he wanted to. And thus leave in a huff. Such minimal lines, excellent pacing, acting that you 'feel' his vacillation.
Brilliant I say :clap: