正义者「其它HD」是由萨蒂亚吉特·雷伊导演、Dhritiman Chatterjee、Jayshree Roy、Debraj Roy主演的印度剧情 电影。该影片上映于1970年剧情如下：
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.
第06集7.6分 LilliBirdsell,格里芬·克莱弗兰德,GriffinCleveland
HD6.7分 陈玉莲,午马,徐承义,徐忠信
HD中字6.7分 格洛丽亚·胡威勒,玛姬·穆鲁巴,Nellie Munamonga,Dyna Mufuni,Nancy Murilo,Ritah Mubanga,Henry B.J. Phiri,Chileshe Kalimamukwento,Travers Merrill
HD7.3分 莎迪娅·本太耶布,Laurent Kumba,Jovial Mbenga,Sara Sampelayo,Mieke De Groote,Anemone Valcke
HD中字10.0分 罗宾·里克尔,布鲁克·纽顿,马修·劳伦斯
正片7.0分 Josh Hammond Danielle Hoover 瑞利·史密斯 Chris Olivero
HD3.7分
正义者相关评论
看过雷伊「阿普三部曲」。本片作为「加尔各答三部曲」的开篇，保持了雷伊一贯的创作风格，如对印度社会议题的关照，青年的生命状态，社会写实白描，以血缘关系为纽带的家族群像，等等。本片以失业青年男主为核心，呈现了70年代加尔各答社会的种种。从毕业求职面试时的「越南战争」讨论，到结尾面试排队时的焦虑、抗争，形成结构上的对照、闭环。影片以非常前卫的方式，呈现了男主的幻想、梦境，别具一格的雷伊构思。开篇字幕的浮现，摇镜，接续天空出字幕，再到主人公登场，呈现了非常成熟的充满结构巧思的视听构造。关于影片主题，带有某种无产阶级立场，青年人失业话题，困扰着当时印度社会，也困扰着男主人公。但正像开篇男主所言，非共产者也可以关心越战中的底层民众。面对不合理的设计安排时，压抑全片的男主掀翻了资本家的桌子，进行反抗。
雷伊在中国是真不出名啊，我这场电影院空了一半...说这部应该是本届影展所有展映片中的最佳恐怕也不为过，不枉我来回两个半小时跑一趟
大师真的是大师……
2022戛纳经典修复单元。（最近和布努埃尔厅的一些绑定） 新片会踩雷，但还好还有那些60、70年代全世界思潮最汹涌的时候的作品可以常看常新。城市化中的劳动者保障、阶层问题等等，“那你是共产主义者吗”，当立场大于了仅仅是做出符合人性的行为本身时。所以才把主人公设置为医学毕业却求职无门的青年，当每个人都平等地是由肌肉包裹骨骼构成的生命的时候，为什么永远有人站在楼顶俯瞰那些剩下的人呢
＃25SIFF @科技影城，浓浓新浪潮之味，同样无甚跌宕剧情，同样满满意识流，细细描摹加尔各答年轻人们的精神状态，身处激烈变革的时代，凸显他们典型的意识形态进步激进和对传统仍然又很保守的两面性，从一个面试到另一个面试，心高气傲不服输，只是面对经济和就业现状，不得不向现实妥协，同样美丽的女孩们倒是开启了独立、自信，“我的人生我做主”的第一步；越战重要性超过登月，从某种角度讲也不能说悉达多说的不对；难得的片非常值得一看，排片真是委屈大师雷伊了
SIFF25-15@世纪汇嘉禾影城。4k修复版，印度国宝级导演作品。挺意识流的电影，开始有点看困，后来自动脑补黑塞书里的情节就精神了（男主叫悉达多），“修保险丝”的偶遇很不错。黑白片里做梦还蛮吓人，还有幕电影院爆炸的场景。老实打工人的悲歌，kuku老爸的灵魂拷问放现在依然存在：“年轻人们怎么都这样，找不到方向。”
睡了蠻久的，就不評了。。
【朵云轩】冷门电影+冷门影院，观影感受非常好！电影本身也挺不错的，虽然是现实主义作品，但导演依然用负片定格镜头等呈现了人物内心。男主的形象甚至可以贴合当下国内青年的一些心境（尤其是找不到工作）。一个略显幼稚的理想主义者形象，一个没有反抗动因但最后也试图开始改变的青年。7分。
如果不是在电影院，不是成人且进入社会的身份，我可能都无法看进去这部电影。犹豫的愤慨，激进的彷徨，高楼大厦和小如蝼蚁，人人都是无差别的白骨。社会语境下的个人失语，是任何年代的无差别记忆。
压抑郁闷冗长，像夏天的湿热黏腻。找工作的努力和面临的精神困境，都能理解。但是男主所谓的理想是多么模糊和不切实际。前面压着，只有结局爆发了一下，但是它的反弹已不能抵消前面的拖沓和虚无了
人物很弱
49.37+55.39
【1】“加尔各答三部曲”，另外两部是《中间人》《有限公司》。imdb8.1【2】开头父亲葬礼片段的负片。找工作面试场景和长辈说教与今同。男主说卖两本医学书买的切格瓦拉书籍。男主有革命理想。男主想象童年时光，想象枪杀妹妹的资本家老板【3】当男主无工作说革命来临一定参加，朋友说“世上有两种人，只会空想的想象者和只会行动的行动者，我是第二种，我不会想太多，但是事情来了的时候我会去做，你只会想象，但是不会真的去做”【4】朋友带去失足女那里，给她点烟镜头的几秒负片【5】第三次负片是男主进入梦境，妹妹当模特，革命的自己被杀，心爱女孩作为医护出现【6】女孩叫男主修保险丝，产生感情【7】最后面试，炎热无凳，作为医学生看到的人镜头中变成了一句句骨架，最后怒而砸面试室。结尾回乡下的男主听鸟声来到窗前。end
雷伊罕为人知的杰作！
曝光镜头看的人懵逼
@BFI 不太一样的雷伊，政治现实性强，形式上用了不少主观镜头。海边的场景致敬了《甜蜜的生活》。
电影放映前在放贴片新闻，突然影院爆炸了，悉达多没事儿人一样走出影院，好像它就应该爆炸。要做无所事事的革命者还是做一个资本主义的小齿轮，两样都做不成，就只能希望社会赶紧爆炸。雷伊对那一代苦闷的印度知识青年的刻画太生动了。
Ａ／酒困路长惟欲睡，日高人渴漫思茶。迟滞而恍惚的摄影机不断打着瞌睡，缔造出一种中暑的热带电影。但连这种停顿都是如此谨慎，这种感知的畏缩反而赋予了这部电影贯通的政治维度。
面对残酷的社会现实，正义并没有卵用
把那么穷苦肮脏的加尔各答，拍出19世纪俄国乡下庄园的感觉，我说的是同样关于无用之人的《奥勃洛廖夫》。1970年代，在求职和社会理想方面都不得知的印度知识青年悉达多，实在太颓丧了。即便状态捕捉可能完全准确，也会让观众跟着颓丧吧。尤其结尾酷暑之日等待面试的15分钟，夜晚来看，简直也被催眠，直至最后的个体革命暴动。
三星半。又是公司又是富裕阶层，算雷伊的长项。插入了手法痕迹很重的几个小段落
除了三部曲，雷伊后期作品被严重忽略。本片承继新现实主义而来，又带点法国存在主义的批判意识。几个超现实的主观镜头跳接的直接而自然，最赞片末的尸骨：现代社会的行尸走肉。依然有雷伊最熟悉的题材：家庭。青年的迷惘影射社会的变革。
#siff2023# 太困了，清醒的地方加起来半小时，还是看得出雷伊厉害的地方。
@2023siff. 首部雷伊，很文学的电影，沉闷的氛围，死亡的群像，突然的意识流表露。记录了稚气未脱的主角从thinker 到 doer的转变，无力的一次哆嗦。 几次负片应该是胶片瑕疵吧？比较惊讶的是所有人物的英语几乎没有印度口音。西方嬉皮士们来到这里，享受于置身印度人之中实则远离了他们。一点存疑：对年轻一代印度女性勇敢面貌的呈现是否贴合现实？
沪北电影院。非常有力量！男主被朋友拉去招技那一段，一度恍惚是不是契诃夫的《精神错乱》。
慢热型电影，结尾非常利落酷洌。一些超现实的影像手法，算是我看到的Ray片子中最prominent的一回。大赞兼推荐。
4星改2星，我仔细想了一下这片和波兰斯基的《影子写手》一样都归于精心包装的剩菜片，此片本身的故事没有真正意义上的价值。现在这片从我上个月的十佳已变成十差
结尾爆发了 我们都是行尸走肉
雷伊后期代表作，法式笔法和现代社会批判主题，另一边不忘重回印度政治社会现实和家庭观念变迁，妹妹是私营企业员工，哥哥是热血的革命者，暧昧对象是中产阶级的女儿，悉达多最后终于被流放，远离城市，远离现代社会，才又找回童年记忆里那只青鸟。结尾部分尤其干脆有力，非常大师气魄。
清醒的意识，几乎不隐蔽地借助角色的嘴巴道出导演蕴藏在心理里的思索，关乎社会命运、政治与个人、现代存在观。。。