Working Notes
Working Notes
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工作笔记
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发表时间：
2007
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通讯作者：
M. Menon
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作者：
M. Menon
法尔汗·阿赫塔尔导演的首部故事片《Dil Chahta Hai》于2001年上映，取得了商业上的巨大成功。正如它的名字所暗示的，这部电影的概念投资位于欲望的问题上--内心渴望什么？内心所渴望的东西叫什么名字？这种对欲望的思考处于两个重要问题的十字路口。首先，它回顾了商业印地语电影的历史，以寻找渴望身份的模式-例如，一个浪漫的歌曲序列完全由20世纪60年代和70年代印地语电影的蒙太奇组成。其次，它将这一投资扩展到了其他文化--另一段爱情镜头是在巴兹·鲁尔曼2001年的电影《红磨坊》中拍摄的，这部电影反过来又得益于宝莱坞的传统。然后，Dil Chahta Hai将这些引语汇集在一起，与欲望的问题有关。艺术债务如何影响性欲？什么样的关系--艺术的和性的--会被命名，那些没有名字的会发生什么？作为对这些问题的回应，这部电影的核心是对两种不同寻常的性关系的审问。第一部涉及年轻男子悉达哈斯(阿克沙耶·卡纳饰)和年长女子塔拉(迪普尔·卡帕迪亚饰)之间未完成的婚外情，第二部涉及悉德哈斯和阿卡什(阿米尔·汗饰)之间的紧密关系。这些情感关系构成了电影的中心，在处理这些关系时，Dil Chahta Hai还评论了构成宝莱坞电影的传统-不仅是标志着Amitabh Bachan、Shashi Kapoor和Rajesh Khanna早期电影的dosti(男性友谊)传统，还有更广泛的可接受和应谴责的、艺术和性习俗之间的关系。
Released in 2001, director Farhan Akhtar’s debut feature film, Dil Chahta Hai (The Heart Desires) was a runaway commercial triumph. As its very title suggests, the film’s conceptual investments are located in the question of desire – what does the heart desire? What is the name of the thing the heart desires? This meditation on desire is placed at the crossroads of two important issues. First, it looks back into the history of commercial Hindi cinema to locate patterns of desiring identifications – for example, one romantic song sequence is made up exclusively of montages from Hindi movies of the 1960s and 1970s. Second, it expands this investment in quotation expands to other cultures as well – another love sequence is filmed in the vein of Baz Luhrmann’s 2001 film, Moulin Rouge, which is in turn indebted to Bollywood conventions. Dil Chahta Hai then brings together these quotations to bear on the question of desire. How does artistic debt impact sexual desire? What relationships – artistic and sexual – get named, and what happens to those that do not have a name? In response to these questions, the film sustains at its core an interrogation of two unusual erotic relationships. The first involves an unconsummated affair between a younger man, Siddharth (played by Akshaye Khanna) and an older woman, Tara (played by Dimple Kapadia), while the second involves the tightly knit relationship between Siddharth and Akash (played by Aamir Khan). These affective relationships form the centre of the film, and in dealing with them, Dil Chahta Hai comments also on the traditions that make up Bollywood cinema – not only the conventions of dosti (male friendship) that mark the early films of Amitabh Bachan, Shashi Kapoor, and Rajesh Khanna, but also more generally the relationship between acceptable and reprehensible, artistic and sexual mores.