I'll come and hug. Movie of long-gone days and scripts.
Indian film about how old wounds inflicted in youth make themselves felt In this film there are various wounds and traumas, physical and emotional - psychological. In short, it's Bollywood. Seventies. With Shashi Kapoor and Sharmila Tagore in the lead roles. The sublimation of emotions in this film covers the viewer with his head. The resentment, the flow of anger, the sensual-emotional manifestations make us vulnerable because this is a movie of the seventies, imbued with echoes of pain, with scars on the heart from the experience. There's a lot going on in the movie. At that time, they loved inefficiencies and meaningful close-ups. Sometimes due to false modesty, or under the pressure of the current situation, traditions. I would not take and put the whole truth - the uterus directly and honestly in the eyes, so they say and so.:" my "job" But no, why break the natural course of life, the order of relationships? And then the heroes get stuck in place, are deprived of peace, fall into depression, feel lost. Wounded states are very consonant with the golden era of the 70-80s in Indian cinema.
Perhaps that is why it is so alive and desirable until now. When there is nothing to fill the vacuum of the inner need for feelings, we must look. Come into my arms. Experiences and life adventures will envelop and give a boost to your own, perhaps for the time being, shadow sides. Your feelings and relationships. There is something there that makes us human, something that lifts us above our instincts and imaginary values. The authors of the film show us life from different sides, points of view and actions, perhaps short-sighted, as one of the heroes who caused the conflict between Priti and Prem. This eternal struggle for the dominant position, the dominant opinion, is the only correct one. The thirst for power over minds, over destiny. This is a stumbling block, the quintessence of many Indian films.
By the way, this hierarchical principle in Russian modern melodramas has not disappeared, but lives and thrives with a violent color. So the topic is relevant so that we do not look. Always, at all times, people seek comfort in someone’s arms, attention and care. Especially when it comes to a child who is disabled. The dialogue and perspectives in the film are amazingly built, which I particularly liked because it expands the view of the film more than the tearful part of it. It is always interesting to weigh and ponder what is being said and why and in what context. And secretly, involuntarily, you begin to tell the main characters what to do, how to fix the situation, offering solutions to old, insoluble problems. Indian cinema sins outdated family stereotypes to this day. But in this century and modern cinema, these problems are somehow separated from the viewer. I mean, I watch it, but it doesn't affect me in any way, although the creeps are sometimes palpable. But not so much as in the old movie, where if a tragedy is played out, it torments you and you touch it, not taking off the screen. With such a movie I can not part.