Base de données sur les 
réalisatrices canadiennes
accueil recherche parcourir à propos contact English

Recherche rapide par nom de famille

Earth

Réalisé par Deepa Mehta
Canada / Inde, 1998 (fiction, 108 minutes, couleurs, anglais / goudjrati / hindi / pendjabi / ourdou)
Autres titres : « 1947: Earth », « 1947: Föld », « Jaettu maa », « Terre », « Ziemia »

Description du film [en anglais] :
« Earth is a love story gone sour in 1940s Lahore (present-day Pakistan), in which Ayah, the protagonist Lenny's beautiful nanny and constant companion, is used and abused by the men around her, especially Ice-candy-man, even as she shares a loving relationship with Lenny herself. The Hindu Ayah's two Muslim suitors, Ice-candy-man and Masseur, are set up as contrasts, the former being at first carefree and funny but letting the beast within him surface when the violence and destruction starts later in the film; the latter being gentle and understanding and eventually killed for his efforts to help those in need of protection. »
-- Joya Uraizee (source)

Générique (partiel) :
Scénario : Deepa Mehta
Source originale : Cracking India, un roman de Bapsi Sidhwa
Produit par : Sean Atkinson, David Hamilton, Anne Masson, Deepa Mehta, Dilip Mehta, Jhamu Sughand
Interprètes principaux : Nandita Das, Aamir Khan, Rahul Khanna, Gulshan Grover, Maia Sethna, Kitu Gidwani, Kulbushan Kharbanda, Arif Zakaria, Eric Peterson, Pavan Malhotra, Sunil Mehra, Navtej Singh Johar
Images : Giles Nuttgens
Montage images : Barry Farrell
Musique : A. R. Rahman
Société de production : Kaleidoscope-India, Cracking Earth Films (Canada)
(sources)

Citation sur Earth

« Si la cinéaste avait attiré notre attention il y a deux ans avec son film précédent, l'audacieux et courageux Fire, elle nous livre ici un récit trop simplistement romantique et un peu trop mélodramatique. »
-- Adrien Gonzalez-Ibbitson (source)

Citations sur Earth [en anglais]

« Earth is a story about human harmony expressed through the desire for fairer gender, social, and religious relations. Although caste is surprisingly bypassed, by focusing on the relationships of characters from different religious and social backgrounds, [Deepa] Mehta seems to suggest that people are victims of artificially fabricated political tensions rather than the cause or catalyst of such tensions. In that sense, the film is based on the premise that religious and ethnic relations in Lahore deteriorated only after and as a result of Partition. »
-- Sekhar Bandyopadhyay (source)

« With one hand [Deepa] Mehta offers the familiar gesture of memory as commemoration and forgetting—the neat national narrative of partition as the cost of independence, as a part of a national history that exists only in the past —and with the other hand she takes away the comfort of resting in this narrative. By refusing to resolve either Shanta's abduction or Lenny's experience of loss and trauma, Earth constructs a form of partition memory that is as much about the present as about the past and that speaks to the necessity of engaging with divisive and violent histories in order to enable new kinds of community in the future. »
-- Jeannette Herman (source)

« [Deepa] Mehta's trilogy [Fire, Earth, and Water] binds the elemental with the feminine and probes the way women are preyed upon and shackled by social institutions, pulverized and bartered by patriarchy. The trilogy represents in its totality a powerful and significant cultural challenge to the dominating masculine values and practices of oppression, subjugation and exploitation of women. Since Mehta happens to be a woman director, her courage in the face of intimidation by the largely patriarchal forces must be acknowledged as the immensely relevant preface to her film Water. »
-- Tutun Mukherjee (source)

« Deepa Mehta came across my book, Cracking India [US title of Ice-Candy-Man], and decided: 'this is the film I want to make, this is Earth!' [...] So she started to work on the screenplay and, whenever she finished a section, she would send it to me -- we would fax each other in those days; I would suggest alterations, but very soon I backed off. I realized her cinematic vision was more important for the film than my writer's vision. I am glad about it, because in this way she was free to make the film as she did. I had different ideas about how to render Lenny's thoughts in the film; I imagined them as a voice-over heard on a close-up of Ice-candy-man's toes for example, darting up Ayah's saris, whatever. But Deepa said she was uncomfortable with voice-overs. She would hold the camera at an angle that would represent Lenny's vision. »
-- Bapsi Sidhwa (source)

Bibliographie sur Earth

Livres

Chapitres de livres

Brèves parties de livres

Articles de revues scientifiques

Brèves parties d'articles de revue scientifiques

Articles de journaux ou de revues grand public

Chapitres de thèses

Sites Web sur Earth


accueil recherche parcourir à propos contact English