女生规则

Recently I have unfailingly surprised myself with the fact that I have so far watched 55 movies that has “India” as a tag. I know, though, that it is nothing to be surprised about when dwarfing this figure against either the sheer volume of Bollywood productivity, or the subsequent reminder that has already been seven years since the rabbit hole of this incredible country has cracked open for me.This figure has nonetheless put me into a justifiable position to summarize my stereotypes on Indian movies. And it does not take long to come up with these words:cheesy, “masala”, dramatic (and sometimes naively or even stupidly so), loudly, and- of course- sing and dance, sing and dance, sing and dance…These stereotypes sometimes feel comforting to foreigners like me, because stereotypical movies are easy to follow even if you don’t understand the language. You can also start guessing the plots early on, and the movies would end up with no substantial difference from your guessing. Being easy and predictable, it also saves brainpower so that you don’t have to think much. In other words, it is a cheap and really effortless way of relaxation. An entertainment.Insomuch as it is entertaining, it can be confusing and even frustrating. In all the Bollywood movies I’ve watched so far (perhaps with the sole exception of Slumdog Millionaire which is actually from Hollywood), India is always portrayed as spotlessly clean, without dust and no single trace of pollution. Metros or local trains are never packed. Traffic jam never a grueling pain to be confronted (fair enough: why waste the precious screen time on the seemingly endless jams?!) Suffocating crowdedness and the lack of space? All these can be whitewashed by an idyllic hue with some simple maneuvering of colors and lights made possible by advanced filming technologies…If even the surface of life is fabricated and brushed into such a fancy and romantic fairy-tale never-land, what portion of reality would you expect the movies to touch upon in terms of real contents?That is where Pink, the latest Indian movie I have watched, differs. It is a precious anomaly on the Indian screens after such a long while that was brave enough to pick up and challenge against a grave social reality. It embodies a rare and respectable effort to actually make people think. And think hard, as the message delivered are way less pinky than the title would suggest.The movie did prove itself to be different since the very beginning. No typical elements mentioned above were present. What caught the eyes was instead an intenseness that flows through the swift volatility of scenes around the girls and the boys despite the normality of neighborhood. The high-pitched, playful and sexy female singing common to most Bollywood pieces was also replaced by a low-pitch gloomy voice that preys and haunts and lingers, to create and corroborate a feeling of tragic vulnerability.But I also feel that the mood of the first half (before intermission) was a bit overdone that made it comparatively mediocre and even somewhat bizarre. For example, perhaps to showcase the character of a lawyer, Deepak Sehgal has worn a stern face ever since his first appearance- which, immersed in and intermingled with the creepy and nervous background music, disseminates an uneasy feeling as if Big B[rother] is watching you. This sternness was tendered only by his visits to his hospitalized wife.*Then, when it comes to the second half, the lawyer had and charmingly held the whole stage. Yet what enriches the movie from a one-man show into the current version of depth and audacity is that other characters played their part with equal strength and excellence. Especially the lawyer from the opposite side Prashantji, who cunningly tries to underpin the three girls as sex workers by highlighting the monetary issues. Indicating the girls as such also adds another delicate yet thought-provoking dimension to the story, on which the current Indian society is perhaps yet to grow adapted so as to reflect frankly and open-mindedly. At the very least, concerns on this dimension may well be the reason why they did not resort to the police in the first place. (The police do not seem to be a trustworthy venue of justice whatsoever.)I particularly like the last two rounds of questioning which, in my opinion, have been the climax of the entire movie. Till then, my initial boredom and cluelessness has evaporated entirely. And although I still wasn’t able to capture every detail because of the language barrier, the broader message got me completely (also thanks to the timely interpretation of my friend). Through the intense flurry of gestures, tears and expressions of the girl Falak under the increasingly overwhelming pressure from Prashantji, I had no problem sympathizing with her deep frustration and depression. Similarly, when the boy Rajveer was cornered by Deepakji’s turn, I cannot agree more with the final message: No means NO. Whether it comes from a girl, a girlfriend, a random person or a sex worker.Such a simple message it is. Such a helpless situation that the country has been so ignorant about it, that a simple message like this needs to be delivered in as a serious and sophisticated manner as possible in order to be heard. And such a brilliant initiative the movie is taking, in conveying it in this well-elaborated and well-played story.For those who question why the movie did not fix the character of Deepak Sehgal as a female lawyer, I was nevertheless unable to get the point. Pardon my limited knowledge about the Indian movie industry, but I failed to nominate in my mind a single actress who is as influential as the Bachchan and can thus deliver the message in an equally eloquent, cogent and powerful manner. More importantly, the charge is missing the point. It is too rigid an interpretation of feminism, women empowerment or whatever you call it. Compared with the gender of the messenger, the message itself matters much more. If anything, Big B’s playing such a decisive role in the movie is the best demonstration of “He for She” that I can think of. In the end, it is less about reversing the dominance of men with that of women. It is about creating a widespread and much-needed consensus, among men and women alike, that women are to be respected rather than abused, whose free wills are to be honored rather than violated.If one is really picky about the movie, you can say that it is still somewhat ideal. Poor King’s College whose name was borrowed as a negative illustration that higher or more degrees does not necessarily prove one’s being educated at an expected level. However, at least in this movie, schooling abroad at prestigious universities does seem to indicate a minimum of civility, which is why the case was lucky enough to be rested in the court. India’s harsh reality is by no means endowed with this luxurious luck. In the more common patterns frequency exposed in the media, sexual harassment, intimidation, molesting or other abusive cases were more likely to be succumbed to macabre male violence, sometimes with deadly consequences, before the court ever got the chance to be involved. Nor did the movie inquired deeper into the family background of the boys, or how their rich yet illiterate or poorly-educated mothers and “successful” yet similarly minded fathers have doted them into the irresponsive and misbehaving persons they have now become. Accordingly, it might be the case that the breadth and depth of the “mental bomb” detonated by this movie may be restricted by its very set-up.Having said so, those minor limitations would not prevent the radiance of the movie from shining at all. Indeed, instead of routinely embracing the more revealing and tantalizingly sexual Bollywood music videos featured by excessive showoffs and consumptions of breasts and hips, it is movies like Pink, with brain and compassionate heart, which should be encouraged, warmly received and solemnly contemplated.Finally, an outcry to Chinese filmmakers (or rather the regulators for that matter): In Korea, movies like So-won or Memories of Murder have been the brave bullets that bite directly the brutal scars of the society. Japanese movies and TV series also have the reputation of being closely connected to reality (接地气). Now even Indian screens are catching up with Pink- how or indeed when can we anticipate a change from your side?(I later on learned from IMDB plot that Deepak Seghal suffers from bipolar disorder. If that is the case, then the big-brother-watching-you type of face does make sense. Still, background information in the first half could have been unfolded in a more succinct and elegant way.)

一直都不太敢看这种片子，过于沉重。

特别印象深刻的一点，当路人在议论米拉尔对待时候，她带上了帽子，让律师摘下她帽子，意思是你没做错什么，为什么要觉得见不得人。

又感慨为什么是女性被指指点点，而不是男性呢？

我还突然多疑问：经常帮忙捏造当晚有报警的事实这么明目张胆么，也太容易被拆穿了吧！

女性对女性的恶意对比于男性对女性的恶意让我更愤怒，虽然女警察可能只是出于利益这样做，跟性别没有关系明明没有收钱却承认了收钱，让我感到好无奈啊看到米拉尔被抓上车之后，我好害怕，突然觉得在备忘录写上，一个人出门在外，打车什么的需要拍下车牌号，我以前从来不会觉得有什么不安全，我们到底社会安全得很男律师总结的好女孩手册，明明白白地摆出来逻辑，提出质疑非常棒，不然真的很多像原告那样的男性就认为：女性穿得漂亮，去酒吧，喝酒，就等于是头上贴着标签“你可以随便睡我”。

不就不，一方说不，另一方就要停下。

多多学习法律知识吧，女性是一个有自己需求的人，不是工具！

Tu Khud ki Khoj mein Nikaltu khud ki khoj mein nikaltu kis liye hataash haitu chal tere vajood kisamay ko bhi talaash hai(go, find yourself,why are you despondent?go, even time islooking for your existence.)jo tujh se lipTi bediyaansamajh na inko vastra tuye beRiyaan pighaal kebana le in ko shastra tu(the chains that cuff you,don't think of them as your clothes.melt these chains,and make them your weapon.)tu khud ki khoj mein nikaltu kis liye hataash haitu chal tere vajood kisamay ko bhi talaash haicharitra jab pavitra haito kyun hai ye dasha teriye paapiyon ko haq nahike lein pareeksha teri(when your character is pure,why are you in such a state?sinners don't have a rightto examine or check you.)tu khud ki khoj mein nikaltu kis liye hataash haitu chal tere vajood kisamay ko bhi talaash haijalaa ke bhasm kar usejo kroorta ka jaal haitu aarti ki lau nahitu krodh ki mashaal hai(burn and incineratethe web of atrocity around you.you aren't the holy flame of worship,but a fire of anger.)[mashaal = torch]tu khud ki khoj mein nikaltu kis liye hataash haitu chal tere wajood kisamay ko bhi talaash haichunar uRa ke dhwaj banagagan bhi kampkampaayegaagar teri chunar girito ek bhukamp aayega(fly your scarf like a flag,even the sky will shake.and if your scarf falls,an earthquake will come.)tu khud ki khoj mein nikaltu kis liye hataash haitu chal tere wajood kisamay ko bhi talaash hai

这是今年里看的第二部印度电影，比起《摔跤吧，爸爸！

》这部电影将印度女孩没有地位的现状揭露得更彻底。

看到那些女孩子从原告变成被告，被抓到车上恐吓，被公司开除，被房东驱逐，被人们指责，背上了一辈子的污名，真的为她们感到难过。

特别是《女孩安全守则》的内容，真是让人对这个国家，这个民族的女性深深地同情。

竟然可以这样踩踏女性的尊严！

虽然最后因为律师的机智，因为法官的善良，这场官司打赢了，可是这个社会对女性的态度还是不会有什么变化，而这几个女孩也难逃舆论的误解。

在印度，大家都知道，种姓问题是一个绝对绕不开的事情，在电影《女生规则》里面，尽管，编剧让我们看到了一个故事圆满而且还丰富的电影，再加上编剧强大的逻辑自圆其说，使得这部电影的观影体验比我们想象中要好很多，但是，尽管电影内容很圆满，而之所以能拍出这样的作品，也是因为电影的发生地印度有这么多的案例可供参考。

印度的女性问题有多大，甚至作为印度国宝级演员的阿米尔汗，在参加节目的时候，都直言不讳说出了一句经典台词，他说身为印度女性真的是不幸，85％被夫家家暴过，是附属品。

能让一个一线明星在采访中说出这番话，可想而知印度的女性到底受到了什么压迫了，这还不是阿米尔汗乱说，因为此前就有过消息报道，印度女孩五岁前的夭折率是男性的五倍以上。

甚至，一位印度的大法官曾经在一场听证会上直言不讳表示：如果你想娶她，我们能帮你，否则，你就会丢掉政府的工作，还会被送进监狱。

我们不会强迫你结婚，如果你愿意结婚，请告诉我。

这番话的用意可想而知了，明摆着就是让大家获得了合法的强奸许可，足以证明印度的女性压迫得有多严重了，但这一切到底是为什么呢？

可能很多人会说是种姓问题，在印度，种姓是很多人一辈子都逃脱不了的事情，印度政府层面虽然早在建国后就已经从法律层面消灭了种姓问题了，但是，法律废除了种姓问题，事实上，人民心中的种姓问题却从来没有根除过，种姓问题已经是深入人心的那种了，很难从表面破开，可种姓问题固然占到了一定的程度，但并不是绝对的，事实上，印度女性被压迫，还有其他方面的问题。

首当其冲的，印度可不是什么全世界最大的民主国家，他们更像是一个宗教国家，跟中东那些伊斯兰教的教徒差不多的，在一个宗教国家里面，男女之间的地位是完全不平等的，这也是早已在我国消失的陪葬制度，在如今的印度仍然存在的一个因素，当丈夫死去之后，他的老婆要为自己陪葬，因为印度教是推崇女性是男性的财产。

更可怕的是印度政府禁止了这种陪葬制度之后，可在各地仍然保留了诸多的潜规则，更怕的是印度能改变女人不平等的局面吗？

答案是不能，此前，媒体报道过一件事，喀拉拉邦议会领袖说一个女人被强奸一次，可以理解。

但是她却一直哭诉说自己一次又一次被强奸了。

如果一名女性被强奸，有自尊的话都会去死，或会尽量避免再次被强奸。

连上层精英分子都这么说了，印度的女权问题可想而知了。

《女生规则》印度是一个女性社会地位普遍低下的国家，德里也被戏称为强奸之都，然而就是在这样一个性别歧视相当严重的国家，却诞生了大量极为优秀的女权作品，“不管那个女孩是熟人，朋友，女朋友，妓女，甚至是你自己的妻子，不就是不，当别人说不的时候，你就必须停止”这是最简单又最深刻的对于女性，对于人的尊重！

本片节奏不是很好，作为一部剧情片来说还可以更紧凑流畅一些。

评分当然是以感情分为主。

在前半段，女主团还一而再、再而三”挑衅“式应对男主团时，我当时心里的真实想法是：怎么可以这么刚呢，这也太不聪明了！

起码君子不立危墙之下呀，更何况这还是印度。

对，哪怕明知结局必定是正义压倒邪恶，我内心还是忍不住的说教和吐槽。

惊觉我的爹味后不寒而栗，我是否也在某种程度上正在遵守”好女孩手册“？

我还沾沾自喜，自以为聪明。

在前半段时，我内心偶有不屑，权贵二代性骚扰普通女孩，这也能算个事吗？

经常连广有知名度的明星死亡都翻腾不出什么大浪花，普通人还能奈若何。

有权的人和无权的人，有资本的人和无资本的人，根本就不属于同一种物种，泾渭分明。

别说这种差距，就连普通职场里的性骚扰，多少人又敢发声、发声后还能得到处理的呢？

在这里，发声也许没用，性骚扰的案子还没判几个，男性易被诬陷所以是弱势方的说法已经甚嚣尘上，报了案也不会理，到处都是荡妇羞辱和完美受害人审视。

但这不代表硬刚是错的，不仅在法律上没有错，在道德上也没有任何错误，相反完美还要大加鼓励这种反应方式：因为就是你做错了。

女性是体力上的弱者，也不意味着随时随地有挨打、被侵犯的风险，法律理应给予每个弱者这种安全感。

捍卫自己的尊严，捍卫自己的权力，这并不幼稚，请停止自以为是的说教。

另外，我们视角看印度的性别议题，经常会觉得可怕，这些男的，不管什么学历什么家世，明明一个个都恶臭难挡，自大、傲慢、自私自利毫无尊重，为什么还有女性愿意和他们一起玩、甚至嫁给他？

有些甚至还要自家付出大量金子嫁妆，完全无法理解。

其实我看身边有些优秀女孩也是一样。

最近，印度一部8年前的老电影，经过这么漫长的等待之后，终于是被我国引进到了国内，没错，这部电影就是《女生规则》，电影的情况是怎么样的，想必很多观众都或多或少通过各种渠道看完了，总的来说，这部电影还算是可以的，至少给个7分不成问题，既然提到了印度女性的问题了，不知道大家有没有想过在印度也有彩礼问题呢？

在我们国内，因为受到互联网的影响，再加上所谓的男女不平等的问题，我们发现，那个彩礼是越来越夸张了，有的地区甚至彩礼钱夸张到了一个极点，但是，大家知道吗？

印度那边的彩礼，可一点都不比我们现在国内的情况好到哪里去，甚至从某种形式来看，比中国老百姓支付的彩礼费用还要高，只不过，付彩礼的一方不是男生，而是女生。

大家可能不知道，印度彩礼是由女方来支付的，因为根据印度传统的风俗来说，印度女人要支付彩礼钱给男方，原因就是因为当地的男女之间是极度不平等的，结婚的时候，男女之间差距非常大，虽然，印度法律已经废弃了所谓的种姓制度，但人们依旧是愿意遵循这一套种姓制度，不同种姓之间的婚姻，那真的是不允许的，而且种姓之间是非常严格的。

假设剧情里面的那个女主角，现实中的演员好像是刹帝利，而剧中的反派是婆罗门，因此，他们两个人如果真的放在现实中的话，不仅女主角要被侮辱了，而且还要给人家倒贴钱，这不是我瞎说的，因为高种姓的人和低种姓的人结婚，低种姓必须给彩礼给高种姓的人，请注意啊，这方面只针对女性低种姓的情况，那有人肯定会问了，那如果女方是高种姓呢？

如果女生是高种姓，比方说女主角是婆罗门，那不好意思，你绝对不能嫁给低种姓的，这样的话，你的种姓就会沦落到最低一级，也就是我们俗称的不可接触者，叫做达利特，所以，一旦你敢跟低种姓的男生结婚，那么，不可避免的事情，你很有可能会被你的家人杀死，这不是我瞎说的，在印度有个说法，叫做“荣誉谋杀”，就是高种姓下嫁遭到家人杀害的事情。

当然，了解完了这些之后，我们再来说说印度的彩礼问题，根据此前英国的那个BBC，就是那个经常黑我们的BBC，他们就曾经公布过一份印度彩礼的数据，根据数据上记载，女方家庭平均要向男生支付3.2万卢比，大概是2781元人民币，看起来是不是不是很贵，但别忘了印度农村人均收入5009卢比，如果是人均收入算上去的话，这个彩礼钱就有点贵了啊！

我们一直都在朝错误的方向努力。

我们应该拯救的是男孩，而不是女孩，因为如果我们拯救了我们的男孩，那么我们的女孩也就安全了。

把你的围巾变成旗帜，挥舞它，开始革命吧，天空也会战栗。

如果你的围巾掉落了，它会引起地震。

开启自我探寻的旅途吧，你为什么抑郁？

开始跑起来吧，时间也在搜寻你的存在。

印度这个国家真的让女性很绝望，片中各种求助无门，全社会的人都在劝受害者算了，有的甚至还认为是受害者的错，不是每个受害的女性都能那么幸运，拯救女性首先从破除直男癌开始，女性说不就是真的拒绝，所谓的女生安全守则只是变相的看低女性，人生而平等，希望能将这部影片在印度国内以及其他女性地位低的国家带去一些好的影响，警醒他们！

/𝒥𝒶𝓃./ 𝓽𝓪𝓴𝓮 𝓪 𝓶𝓸𝓿𝓲𝓮 ◡̈♥︎ྀ🎬观《女性规则》评分：⭐️⭐️⭐️⭐️⭐️很难给出五星好评的我依然选择给这部2023看到的第一部电影打上五星（对比去年元旦的开心麻fa真的强太多）。

故事开篇在一个夜晚，只有两辆车，分别载着三位女生和三个男的；女生有气冲冲的，有委屈巴巴的，男的则有一个用布之类的东西捂着眼睛，鲜血不断地流出来。

一开始，女生还在纠结怎么处理——遗忘并正常生活还是报警，而男的则在纠结被打伤的眼睛能不能治好、如何跟当官的家人交代。

后来，男的开始不断恐吓、骚扰女生，甚至光天化日之下直接强行拉女生上车0辱一天。

而女生忍无可忍选择报j——当然不可能报j成功，并且还被反教训了一通。

这种事情放在印度自然而然，毕竟歧s女性是常有的事。

打伤事件的原委在男的和女生一来一往中大致可以看到事情发生的轮廓。

接着剧情开始反转，施b不成的官/崽子开始诬陷女生卖y，各种泼脏水。

可是在那种社会下，人们只会觉得是女性有错。

她们不该夜晚去参加演唱会，不该跟男生k房，不该喝酒，不该对男性微笑以示友好…多可笑！

幸亏老道的律师愿意重出江湖帮女生辩驳，而且最终成功翻案，还女生们清白。

老律师的妻子也在庭审期间因病去世，而老律师依然坚定地完成了这场为女性平反的战斗，十分感动！

交替辩驳的过程非常激烈，男方律师下套咄咄逼人的样子真的好可怕。

影片让我想起了前不久读的《桶川跟踪狂s人事件》中的猪野诗织。

报j不但得不到帮助，还反被教育，继续受害，那种绝望，真的让人崩溃。

对持“受h人有z”这种观念的人，希望下一个受h者名单中有你名字。

女性应该有自由去决定自己干什么、穿什么、怎么取悦自己，而不是活在男性的束缚下，一辈子畏畏缩缩，俯首称臣。