Kolkata-based Sheela Bhowmik feels isolated and neglected, and decides to leave her busy film-maker husband, Raja, to spend sometime with her friend, Renu, her mom, and then subsequently travels to Kashmir to spend some time by herself. Raja gets involved in a new movie depicting the life of Gautam Buddh, and is on the look-out for a male child to play the character. He does find one, a young school-going lad, Abhirup Mitra; introduces him to the Producer, Vikram; as well as other crew including beautiful Anjali, who has a crush on Raja. Neither Vikram, Anjali nor any of the crew are aware that Raja is the prime suspect in the abduction of Abhirup.
Writer:Rituparno Ghosh (screenplay), Rituparno Ghosh (story), Hasan Kamal (lyrics)
Kolkata-based Sheela Bhowmik feels isolated and neglected, and decides to leave her busy film-maker husband, Raja, to spend sometime with her friend, Renu, her mom, and then subsequently ... . You can read more in Google, Youtube, Wiki
Kristina K (de) wrote: The Bush's Minister of defence Donald Rumsfeld lies bluntly through the whole movie. If you wanna watch a pathological liar in action here is a real life horror move for you!
Jason W (jp) wrote: I wished this followed just BRS. Not some schoolgirls......Still good anyways.
Katrina J (nl) wrote: I wonder how children can watch all that violence? Well it was fine as a movie to watch on a Sunday morning and I liked Zorua as a character quite much..
Ian C (ru) wrote: Je m'attendais rien... J'ai t diverti !
Stephen A (gb) wrote: rather corny acting, given I recognized at least 3 of the actors I had expected a bit better. still a half decent movie. The monster is effectively a modern take on the RPG classic monster, the mimic. Rather than an oddly placed treasure chest or a cottage on the side of the road in the middle of nowhere, its a car
Michael K (us) wrote: Iowa grown. so yeah...
Melanie F (it) wrote: A long drama. Good to have on while doing something else but not interesting enough to merit full attention.
Mike D (it) wrote: I had been meaning to watch this film for a very long time and finally have. A very good indie film much of which is thanks to the performance of Lili Taylor in the lead role. I would very much like to watch her play with the opening dialogue pertaining to turds.
Apurba S (au) wrote: One of the best dark comedies I watched...
Larence P (us) wrote: Gandhi would be proud
Kevin N (kr) wrote: A spectacularly entertaining and stylish noir, Jean-Pierre Melville's first masterpiece is all about wrong decisions and miscommunications, poor choices and harsh consequences. Importantly, it is not about luck; Melville allows us to connect to and become involved in the characters in the story (adapted from a book by Pierre Lesou), but he makes sure we understand that whatever violent kickbacks they receive they have asked for. Many of the film's themes are borrowed from American gangster pictures of the thirties and film noir of the forties, but Melville's style is distinct and unique. It has the smooth elegance French cinema had become known for as well as some of the suspense techniques of his peer, Henri-Georges Clouzot, but in this film the director makes a statement with his aesthetic and narrative style; the Melvillian technique is born fully. The title, LE DOULOS, has a double meaning; in French it refers to a kind of hat, as well as to a police informant. Melville enjoyed word play (as is evident in the quotation used after the opening credits, a motif he would continue throughout his career) and threads the film with instances of both of the title's meanings. The informant, played with an almost frozen coolness by Jean-Paul Belmondo, sports the titular hat, which at first acts as a signifier but eventually stands for something crueler, something like chains. He, like the other characters in the movie, forces us to reconsider him often. There are no "heroes" in Melville films, and this one isn't an exception. But what Belmondo does with the role is extraordinary, asking for our sympathy via explanation and context rather than action. Equally important to the story is Serge Reggiani, an actor whose popularity was immense in the early fifties until it dropped unexpectedly, resulting in a decade-long hiatus from the French cinema. His performance, as the other half of this strange dual character study, is rife with desperation and tension; it is also brilliant. Often, Melville is accused of being a style-over-substance filmmaker, but I would challenge accusers to re-examine the director's work. Instead, I believe Melville is unique in that he hides his substance within style, asking his viewers to immerse themselves in his gorgeous compositions and chillingly shadowy mise-en-scene. There are dark secrets about human nature hidden in his films, and there is no better film to san exploration than LE DOULOS.
ie F (de) wrote: At a time when Communism was"faux pas," Dalton Trumbo reemerged with this screenplay of one of the last free-range Cowboys, Jack Burns. The story opens w/Jack basking under an open New Mexico sky. With his head supported by his saddle, he watches a jet leaving a trail across the sky. He then saddles his pony and begin his fence-cutting journey across land he feels should be open range. An encouraging opus.