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白斯家的四个女儿都已长得婷婷玉立，白先生及白太太日夜惦记着为女儿们物色金龟婿他们聪敏漂亮的二女儿娜丽达忠于爱情，坚决不受父母支配而要找到心目中的“Mr.Right”，她的新思维令到父母非常头痛。此时娜丽达遇上来自洛杉矶的酒店业巨子达西先生，两人郎才女貌，看似天作之合，然而却非一见钟情。达西在娜丽达心目中只是个自大势利、满身铜臭的生意人，同样地，达西亦看不起娜丽达，认为她只是个空有美丽躯壳、见识浅薄的印度乡下妹，两人每次见面总是针锋相对。然而冲突的同时，却令双方加深了解，不知不觉间擦出爱火花。热播电视剧最新电影喜剧英雄唇心萌动她的嘴唇令我欲罢不能二十四周枪王 (粤语版)穿过寒冬拥抱你（方言版）寅次郎的故事20：加油啊！寅次郎大好时光噬谎者-鞍马兰子篇/梶隆臣篇汉娜 盖茨比 性别那些事儿阿尼库拉波：不死传说阴云女服务员母爱杀机山村老尸2：色之恶鬼斯嘉丽小姐和公爵第二季神秘博士2024第一季监护风云黑郁金香无辣不欢酷儿第一季2023河北卫视元宵诗会然后，百合子就独自一人了秦始皇 2007芬兰的汤姆锦囊妙计怪房客（1976）
白斯家的四个女儿都已长得婷婷玉立，白先生及白太太日夜惦记着为女儿们物色金龟婿他们聪敏漂亮的二女儿娜丽达忠于爱情，坚决不受父母支配而要找到心目中的“Mr.Right”，她的新思维令到父母非常头痛。此时娜丽达遇上来自洛杉矶的酒店业巨子达西先生，两人郎才女貌，看似天作之合，然而却非一见钟情。达西在娜丽达心目中只是个自大势利、满身铜臭的生意人，同样地，达西亦看不起娜丽达，认为她只是个空有美丽躯壳、见识浅薄的印度乡下妹，两人每次见面总是针锋相对。然而冲突的同时，却令双方加深了解，不知不觉间擦出爱火花。热播电视剧最新电影喜剧英雄唇心萌动她的嘴唇令我欲罢不能二十四周枪王 (粤语版)穿过寒冬拥抱你（方言版）寅次郎的故事20：加油啊！寅次郎大好时光噬谎者-鞍马兰子篇/梶隆臣篇汉娜 盖茨比 性别那些事儿阿尼库拉波：不死传说阴云女服务员母爱杀机山村老尸2：色之恶鬼斯嘉丽小姐和公爵第二季神秘博士2024第一季监护风云黑郁金香无辣不欢酷儿第一季2023河北卫视元宵诗会然后，百合子就独自一人了秦始皇 2007芬兰的汤姆锦囊妙计怪房客（1976）
长篇影评
1 ) A different approach
So, I'm really not sure what to say about this Bollywood version of my beloved "Pride and Prejudice". The story, the music, the colors, the visuals, the glamorous settings, two attractive main characters, everything is there. However, I am just not loving it as I should be. I'll explain in a bit.
Quick summary of the story in case you don't know:
"The main plot focuses on the relationship between wealthy workaholic Will Darcy (Martin Henderson) and Lalita Bakshi (the "Elizabeth Bennett" role, played by Aishwarya Rai), the second daughter of a middle-class Indian couple. When Darcy arrives in Lalita's hometown of Amritsar, it's contempt at first sight, but as these two mismatched individuals get to know one another, love blooms. There are plenty of complications, not the least of which are Lalita's pride and Darcy's prejudice."
The film is enjoyable, light-hearted, funny at times, bright and colorful. However, some scenes are too obnoxious and loud, the relationship between Darcy and Lalita was developed too quickly, Darcy is way too pretty and not enough darkness in him, the lip-synching during musical numbers are hard to watch, and the whole idea that everybody (except Darcy) in the story are Indians is just a bit hard to grasp. It's difficult for me to accept a different approach to a story that I know so well, especially when the "Pride and Prejudice" miniseries(with Colin Firth) is still so deeply-rooted in my mind.
Also, please be warned, watching Sayid from "Lost" gettin' jiggy wit' it was an extremely painful experience.
After watching this, I think I'm anticipating the more traditional "Pride and Prejudice" remake that's due out end of this year more than ever now.
http://wintervalley.blogspot.com/2005/11/bride-and-prejudice.html
Quick summary of the story in case you don't know:
"The main plot focuses on the relationship between wealthy workaholic Will Darcy (Martin Henderson) and Lalita Bakshi (the "Elizabeth Bennett" role, played by Aishwarya Rai), the second daughter of a middle-class Indian couple. When Darcy arrives in Lalita's hometown of Amritsar, it's contempt at first sight, but as these two mismatched individuals get to know one another, love blooms. There are plenty of complications, not the least of which are Lalita's pride and Darcy's prejudice."
The film is enjoyable, light-hearted, funny at times, bright and colorful. However, some scenes are too obnoxious and loud, the relationship between Darcy and Lalita was developed too quickly, Darcy is way too pretty and not enough darkness in him, the lip-synching during musical numbers are hard to watch, and the whole idea that everybody (except Darcy) in the story are Indians is just a bit hard to grasp. It's difficult for me to accept a different approach to a story that I know so well, especially when the "Pride and Prejudice" miniseries(with Colin Firth) is still so deeply-rooted in my mind.
Also, please be warned, watching Sayid from "Lost" gettin' jiggy wit' it was an extremely painful experience.
After watching this, I think I'm anticipating the more traditional "Pride and Prejudice" remake that's due out end of this year more than ever now.
http://wintervalley.blogspot.com/2005/11/bride-and-prejudice.html
2 ) 荧幕里的美好生活
快乐的友情，温馨的亲情，忠贞的爱情，这是一个多么美好的故事。
可是我还是有一些疑点，别说我较真，我只是无聊：
1、lahki到底是不是私奔？我看只是跟William出去游玩而已，lahki对爱情充满渴望，但是她更爱她的家人，更愿意和家人在一起。
2、william离开之后，为什么lalita没有查到他的邮件，但是lahki却收到了？
3、darcy是怎样拒绝anne和母亲，去找lalita的？或者根本没解决这个矛盾？
4、darcy劝balraj放弃对jaya 的感情，balraj就断了跟jaya 的联系，乖乖跟父母去相亲了？
5、 chandra嫁人的理由让人无法反驳，但是归根结底，她的拜金思想已经在前面剧情透露出来了，后来的理由是不是对拜金的掩饰？
可是我还是有一些疑点，别说我较真，我只是无聊：
1、lahki到底是不是私奔？我看只是跟William出去游玩而已，lahki对爱情充满渴望，但是她更爱她的家人，更愿意和家人在一起。
2、william离开之后，为什么lalita没有查到他的邮件，但是lahki却收到了？
3、darcy是怎样拒绝anne和母亲，去找lalita的？或者根本没解决这个矛盾？
4、darcy劝balraj放弃对jaya 的感情，balraj就断了跟jaya 的联系，乖乖跟父母去相亲了？
5、 chandra嫁人的理由让人无法反驳，但是归根结底，她的拜金思想已经在前面剧情透露出来了，后来的理由是不是对拜金的掩饰？
3 ) 后殖民主义语境下的宝莱坞版《傲慢与偏见》
《Bride and Prejudice》很适合作为post-colonial语境下的diasporic创作的研究对象。
作为印度歌舞版傲慢与偏见，保留了奥斯汀笔下所有的男性的人设，而对姐妹一家的设定进行了印度本土化的创作，从跨越阶级式的女性文学，变成了反殖民主义、反文化景观化的故事，对于文化挪用和文化凝视也有一定的探讨。这种印度电影改编英国文学并以全英对话来探讨殖民问题本身，就直接呈现了一个resistance和mimicry的天秤了。“How to balance between complete divorce from empire and complete dependence on it? Appropriating the language of the colonials to empower and make it their own.”
Lalita怼英美贵族的台词超级有趣，例如“所有的旅行者不都这样，五星级的舒适加上一点东方文化就行了，我可不希望你们把这变成主题公园，你以为这还是殖民地吗？”“美国人以为他们有一切问题的答案，包括婚姻，就因为他们拥有世界上最高的离婚率。”“大家并没有因为全世界都有披萨店而不去意大利，却因为有了香料瑜伽就觉得没理由去印度了。”
根据Homi Bhabha的“The Location of Culture”，
- Cultural identities cannot be ascribed to pre-given cultural traits “set in the fixed tablet of tradition”
- "colonizer" and "colonized" are not independently defined entities.
- negotiation of cultural identity involves the continual interface and exchange of cultural performances that in turn produce a mutual and mutable recognition (or representation) of cultural difference.
- This "liminal" space is a "hybrid" site that witnesses the production—not just the reflection--of cultural meaning.
- 'Always and ever differently the bridge escorts the lingering and hastening ways of men to and fro, so that they may get to other banks....The bridge gathers as a passage that crosses.'
片中随着每一场主角家庭间歌舞中男主的不同态度（审视观望者-学习者-参与者-主动表演者）来展示了这样一个文化承认和抹去“傲慢与偏见”的过程。
而Kholi和balraj则展示了disporas的一体两面。作为在英美的印度人，对海外印度女性的认知是[忘本]，对印度本土女性的认知是[本份、简单、顺从]，尽管融入了英美社会，仍然需要传统的印度婚礼和印度妻子。Kholi对印度本土是负面的、鄙视的态度（反过来也遭到了女主的鄙视）；Balraj则是正面的、欣赏的态度（反过来获得了女主的认可），是殖民语境下离散者的两个典型代表。“diasporas and nations produce each other” because “homelands like diasporas are produced through the material practices and cultural discourses of diasporic displacement and imaginings” (Beyond Bollywood)
从这些地缘性电影文本的角度考虑，改编得还是比较复杂和成功的。
当然单纯就电影本身的艺术创作来考虑，我并不是很喜欢这部电影。所以可以评价为一部值得研究的电影，但观赏性很一般。
4 ) 印式傲慢与偏见
05年误入的，当时也算是新片，完全是被这名字吸引的，但完全没想到居然是印度版的傲慢与偏见。女主名字不再是伊丽莎白，男主却仍然是达西。所以，达西先生还真是男神，集各式意淫于一身。
非常印度风情，非常宝莱坞，观感嘛，看你如何去看待。我个人来说，因为角色名字和人物情节，完全无法脱离傲慢与偏见的预设，于是看的时候全程都充满了一种尴尬感。
男二（原型宾利先生）的那位，回印度参加朋友的婚礼，然后他就突然冲入人群热情洋溢的跳起来了跳起来了跳起来了，oh no，当时我那个别扭的感觉：他是宾利，不，他不是，他就是，他怎么可能是……好难受……
后面，女士们逛着街呢，就突然唱起来，而且又跳起来了跳起来了！！！
出于漂亮的印度女主，英俊且美式的男主，以及百看不厌的傲慢与偏见故事原型，给三星。其实想给二星或者二星半。拍点儿自己的故事不好嘛。
非常印度风情，非常宝莱坞，观感嘛，看你如何去看待。我个人来说，因为角色名字和人物情节，完全无法脱离傲慢与偏见的预设，于是看的时候全程都充满了一种尴尬感。
男二（原型宾利先生）的那位，回印度参加朋友的婚礼，然后他就突然冲入人群热情洋溢的跳起来了跳起来了跳起来了，oh no，当时我那个别扭的感觉：他是宾利，不，他不是，他就是，他怎么可能是……好难受……
后面，女士们逛着街呢，就突然唱起来，而且又跳起来了跳起来了！！！
出于漂亮的印度女主，英俊且美式的男主，以及百看不厌的傲慢与偏见故事原型，给三星。其实想给二星或者二星半。拍点儿自己的故事不好嘛。
5 ) A rebellion against fromality
This 2004 musical comedy from Bollywood gives Jane Austin’s novel a dramatic new and exotic touch. When you see the title, you know the reference, and you expect the informality and fun, which are very well presented in Bollywood style. All the twisted love stories in Austin’s original work become a single, hilarious and very much Bollywood coup de foudre.
The setting of the story is not much so different from 19th century Britain – a rather interesting or perhaps concerning fact, with parents yearning for someone socially advantaged, and daughters pursuing a Victorian free love. Yet the “Bollywoodness” of the film immediately removes all the formality, tediousness, and monotone of the Victorians.
Knowing the film is a musical, one should perhaps be less concentrated by the capricious and appropriate appearance of dances and music, but their presence is dramatizing the film so much that perhaps they become the only thing that can last in my unfortunate memory. The colors and dances all make the film a gigantic flow of pictures. Even though one may be unsure about what exactly is going on in the flow, one can easily catch up with the plot and leave the brain relaxed and fully sucking the juices from visual nourishment.
The Western actors give a mediocre display in the film. Martin Henderson, who plays William Darcy, lacks the ability to perform the initial aloofness, and the potential to love in him that can be found in the Darcy from Austin’s novel. Since the film, like Austin’s novel, tells the story from the heroine’s POV, it is important for Henderson to show Darcy’s world via his performance, which is way too static to show the character’s mind. I know his state of mind only because I read the novel.
The Indian actors and actresses, however, give a rather vivid performance. Aishwarya Rai Bachchan, playing Lalita, a character corresponding to Elizabeth in the original novel, gives her character the ambivalent state of mind, a remorse found in love stories, an unconscious preference, etc. Look retrospectively, one can find that she became more successful and sophisticated in her later performance, Jodhaa Akbar, for example, in which she played Jodhaa Bai, Mughal Empress. However, it does not change the fact that her performance in Bride and Prejudice is already outstanding. She has the skin color that drove the 18th century British sailors to mutiny, and blue eyes mysterious and exotic. Understandably she is found in the list of 25 hottest actresses on IMDB.
The film is so not serious and so not tedious. It is a successful Indian rebellion against British formality, with weaponry of dances and music.
The setting of the story is not much so different from 19th century Britain – a rather interesting or perhaps concerning fact, with parents yearning for someone socially advantaged, and daughters pursuing a Victorian free love. Yet the “Bollywoodness” of the film immediately removes all the formality, tediousness, and monotone of the Victorians.
Knowing the film is a musical, one should perhaps be less concentrated by the capricious and appropriate appearance of dances and music, but their presence is dramatizing the film so much that perhaps they become the only thing that can last in my unfortunate memory. The colors and dances all make the film a gigantic flow of pictures. Even though one may be unsure about what exactly is going on in the flow, one can easily catch up with the plot and leave the brain relaxed and fully sucking the juices from visual nourishment.
The Western actors give a mediocre display in the film. Martin Henderson, who plays William Darcy, lacks the ability to perform the initial aloofness, and the potential to love in him that can be found in the Darcy from Austin’s novel. Since the film, like Austin’s novel, tells the story from the heroine’s POV, it is important for Henderson to show Darcy’s world via his performance, which is way too static to show the character’s mind. I know his state of mind only because I read the novel.
The Indian actors and actresses, however, give a rather vivid performance. Aishwarya Rai Bachchan, playing Lalita, a character corresponding to Elizabeth in the original novel, gives her character the ambivalent state of mind, a remorse found in love stories, an unconscious preference, etc. Look retrospectively, one can find that she became more successful and sophisticated in her later performance, Jodhaa Akbar, for example, in which she played Jodhaa Bai, Mughal Empress. However, it does not change the fact that her performance in Bride and Prejudice is already outstanding. She has the skin color that drove the 18th century British sailors to mutiny, and blue eyes mysterious and exotic. Understandably she is found in the list of 25 hottest actresses on IMDB.
The film is so not serious and so not tedious. It is a successful Indian rebellion against British formality, with weaponry of dances and music.
6 ) 印度人值得自豪也! ---向往印度游!
和印度应该说是一种缘分吧,有种向往了,一定要去印度看看.舞蹈,音乐,海滩,小镇,金矿...古老的民俗民风,还有美女!
从恋恋不忘的"阿育王子" 对了,还有王子.呵呵! 到"我爱贝克汉姆" 到"爱斗气爱上你" 几乎每一部片的推出都会烧红一拨人.男女主角们便成世人的宠儿. 但是在这部片里,我怎么就只记住了那个在美国发财了的表哥呢?又丑又庸俗的家伙. 那位幽雅的王子让我没有看懂,因为他不勇敢吧.
还是说说舞蹈,我觉得该片的编舞抛弃了以前人们对印度舞到的模式化记忆,以为就只有那么几个经典动作,.... 很多现代热舞的动作,还有音乐也一样,有摇滚,融合了很多曲调... 海边的那场舞蹈真的是让人荤牵梦饶...
从恋恋不忘的"阿育王子" 对了,还有王子.呵呵! 到"我爱贝克汉姆" 到"爱斗气爱上你" 几乎每一部片的推出都会烧红一拨人.男女主角们便成世人的宠儿. 但是在这部片里,我怎么就只记住了那个在美国发财了的表哥呢?又丑又庸俗的家伙. 那位幽雅的王子让我没有看懂,因为他不勇敢吧.
还是说说舞蹈,我觉得该片的编舞抛弃了以前人们对印度舞到的模式化记忆,以为就只有那么几个经典动作,.... 很多现代热舞的动作,还有音乐也一样,有摇滚,融合了很多曲调... 海边的那场舞蹈真的是让人荤牵梦饶...
若非有印度歌舞撑着...就只有一星了.我喜欢的世界第一美人也胖了...TOT
仿佛一看到宝莱坞电影，我就起鸡皮疙瘩；印度女人真没出息，对英国男人的殖民依赖还是如此深厚
真的是印度版的傲慢与偏见，要不是这个原因我可能从没看过印度电影。
印度现代版傲慢与偏见 唱歌跳舞好多
剧情老套，女主角很美
印度舞蛮漂亮的~印度文化艺术...始终围绕在主角左右都是帅锅有钱佬！！！！斗气冤家爱上的故事...
印度电影真是一针见血啊
d2
组合不一定出新意，还有可能不伦不类
Indian movie cool!!
我只能说各种版本的达西先生都闪闪惹人爱。
印度drunby剧
在印度重温真是别有一番风味，的确，印度是个需要你亲自了解的地方
印度的歌舞片，Sayid的舞姿还真不赖啊。
蛮热闹的
如果有中国的导演也遵照原著拍一部中国版的傲慢与偏见，不知道该用哪一个时代背景比较好
拿了《傲慢与偏见》的壳儿。。。唱歌跳舞看美女
MS7010 viewing list
印度的结婚真的是大家就在那跳舞吗。。。印度有不是歌舞片吗
印度版的《傲慢与偏见》 ！不过怎么都比不过英国的