Earth
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Canada / Inde, 1998 (fiction, 108 minutes, couleurs, anglais / goudjrati / hindi / pendjabi / ourdou)
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Autres titres :
« 1947: Earth », « 1947: Föld », « Jaettu maa », « Terre », « Ziemia »
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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)
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| 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
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JAIN, Jasbir. Films, Literature, and Culture: Deepa Mehta's Elements Trilogy, Jaipur, Rawat Publications, 2007.
[en anglais]
Chapitres de livres
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FUNG, Amy. « Earth »
,
dans The Cinema of Canada, sous la direction de Jerry White, London, Wallflower, 2006, pp. 214-222.
[en anglais]
Brèves parties de livres
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MONK, Katherine. Weird Sex and Snowshoes: And Other Canadian Film Phenomena, Vancouver, Raincoast Books, 2001.
[en anglais] (p. 291)
Articles de revues scientifiques
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BANDYOPADHYAY, Sekhar et Giacomo LICHTNER. « Indian Cinema and the Presentist Use of History: Conceptions of 'Nationhood' in Earth and Lagaan », Asian Survey, vol. 48, no. 3 (2008), pp. 431-452.
[en anglais]
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BARENSCOTT, Dorothy. « 'This Is Our Holocaust': Deepa Mehta's Earth and the Question of Partition Trauma », Mediascape (printemps 2006), http://www.tft.ucla.edu/mediascape/Spring05_ScreenAngst.pdf.
[en anglais]
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BUDDE, Robert. « The 'Valuable Deformity': Calipers and the Failed Trope of Postcolonial Debt in Deepa Mehta's Earth », Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques, vol. 17, no. 1 (printemps 2008), pp. 44-51.
[en anglais]
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HERMAN, Jeanette. « Memory and Melodrama: The Transnational Politics of Deepa Mehta's Earth », Camera Obscura, vol. 20, no. 1 58 (2005), pp. 107-147.
[en anglais]
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NEUTILL, Rani. « Bending Bodies, Borders and Desires in Bapsi Sidhwa's Cracking India and Deepa Mehta's Earth », South Asian Popular Culture, vol. 8, no. 1 (avril 2010), pp. 73-87.
[en anglais]
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URAIZEE, Joya. « Gazing at the Beast: Describing Mass Murder in Deepa Mehta's Earth and Terry George's Hotel Rwanda », Shofar, vol. 28, no. 4 (été 2010), pp. 10-28.
[en anglais]
Brèves parties d'articles de revue scientifiques
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BRUSCHI, Isabella. « Making up with Painful History: The Partition of India in Bapsi Sidhwa's Work; Bapsi Sidhwa Interviewed by Isabella Bruschi », entretien avec Bapsi Sidhwa, Journal of Commonwealth Literature, vol. 43, no. 3 (2008). (pp. 148-149)
[en anglais]
Articles de journaux ou de revues grand public
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GONZALEZ-IBBITSON, Adrien. « Earth », critique de Earth, Séquences, novembre-décembre 1999.
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KEMP, Philip. « Earth », critique de Earth, Sight & Sound, juin 2000.
[en anglais]
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KLADY, Leonard. « Earth », critique de Earth, Variety, 12 octobre 1998.
[en anglais]
Chapitres de thèses
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PARMAR, Prabhjot. « Cartographic Split, Sectarian Strife, and Desire for Peace: Deepa Mehta and Earth »
, dans Divided Land, Divided Bodies: Representations of Nationalism and Violence in Literature and Films on the Partition of India, 2007. Thèse de doctorat, University of Western Ontario, pp. 229-245.
[en anglais]
Sites Web sur Earth
