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Trois femmes

Titre original : Teen Kanya
  • 1961
  • Tous publics
  • 2h 53min
NOTE IMDb
7,9/10
1,8 k
MA NOTE
Trois femmes (1961)
ComedyDramaFantasyHorror

Ajouter une intrigue dans votre langueBased on popular Indian stories of the great writer Rabindranath Tagore, these short films reveal definitive moments in the lives of three young girls.Based on popular Indian stories of the great writer Rabindranath Tagore, these short films reveal definitive moments in the lives of three young girls.Based on popular Indian stories of the great writer Rabindranath Tagore, these short films reveal definitive moments in the lives of three young girls.

  • Réalisation
    • Satyajit Ray
  • Scénario
    • Satyajit Ray
    • Rabindranath Tagore
  • Casting principal
    • Anil Chatterjee
    • Chandana Banerjee
    • Aparna Sen
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,9/10
    1,8 k
    MA NOTE
    • Réalisation
      • Satyajit Ray
    • Scénario
      • Satyajit Ray
      • Rabindranath Tagore
    • Casting principal
      • Anil Chatterjee
      • Chandana Banerjee
      • Aparna Sen
    • 10avis d'utilisateurs
    • 9avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 4 victoires au total

    Photos5

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    Rôles principaux24

    Modifier
    Anil Chatterjee
    Anil Chatterjee
    • Nandal (segment "Postmaster")
    • (as Anil Chattopadhyay)
    Chandana Banerjee
    • Ratan (segment "Postmaster")
    • (as Chandana Bandyopadhyay)
    Aparna Sen
    Aparna Sen
    • Mrinmoyee (segment "Samapti")
    • (as Aparna Das Gupta)
    Sita Mukherjee
    • Jogmaya (segment "Samapti")
    • (as Sita Mukhopadhyay)
    Nripati Chatterjee
    • Bishey (segment "Postmaster")
    • (as Nripati Chattopadhyay)
    Khagen Pathak
    • Khagen (segment "Postmaster")
    Gopal Sen
    • Bilash (segment "Postmaster")
    Krishnakamal Bhattacharya
    • (segment "Postmaster")
    Haridhan Nag
    • (segment "Postmaster")
    Narayan Ghosh
    • (segment "Postmaster")
    Batakrishna Nandan
    • (segment "Postmaster")
    Haricharan Nag
    • (segment "Postmaster")
    Khana Roy Chowdhury
    • (narrator) (segment "Postmaster")
    Kali Bannerjee
    Kali Bannerjee
    • Phanibhushan Saha (segment "Monihara")
    • (as Kali Bannerji)
    Kanika Majumdar
    • Manimalika (segment "Monihara")
    Kumar Roy
    • Madhusudan (segment "Monihara")
    Govinda Chakravarti
    • Schoolmaster and narrator (segment "Monihara")
    • (as Gobinda Chakrabarti)
    Soumitra Chatterjee
    Soumitra Chatterjee
    • Amulya (segment "Samapti")
    • (as Soumitra Chattopadhyay)
    • Réalisation
      • Satyajit Ray
    • Scénario
      • Satyajit Ray
      • Rabindranath Tagore
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs10

    7,91.7K
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    Avis à la une

    10robert-temple-1

    Magnificent, emotionally wrenching early film by the great Satyajit Ray

    This film, called TEEN KANYA in Bengali and TWO DAUGHTERS in English, was made six years after Ray's first film, PATHER PANCHALI (1955), which was the first of the famous APU TRILOGY. Having finished that trilogy as well as another of his haunting masterpieces, THE MUSIC ROOM, Ray turned his attention to two wonderful short stories by Rabindranath Tagore, so that this film is therefore a diptych, composed of two separate films of those two stories. The first of them is entitled THE POSTMASTER, and most of it is filmed in and around a small hut inhabited by a young man who has just become a village postmaster. Along with the hut and the job, he has acquired a servant named Ratan who is a 10 year-old orphan girl who never knew her mother and father. The previous postmaster beat her and treated her badly, but the new one is very kind, and she becomes attached to him. This is the first time she has ever allowed herself to feel anything for anyone, in her harsh young life. The story is one of the saddest and most heart-breaking ever filmed. The intensity of the acting by the young girl, played by Chandana Banerjee, is one of the most powerful child screen performances in the history of world cinema. This young girl only made one other film, KAA, in 1966, and after that, nothing is recorded of her life or her fate. She was able to convey so much with her eyes without speaking, that it was like cinematic telepathy. The ending of this film is unforgettable, and will haunt any sensitive person always. The second film is not a sad story but an odd and amusing one. It concerns a girl in her late teens who is a wildly eccentric tomboy. She and her family live in a shack by the river bank, having lost their home and all their possessions in one of the many floods which continually afflict Bengal (the stories are set in Bengal). She likes to run wild and free, swing from the trees, play with the boys, run and hide in the forest, and always goes barefoot. She is brilliantly played by the young actress Aparna Sen, whose first adult part it was (she had appeared in one film previously as a child). She went on to become one of India's most famous serious film actresses, and has appeared in 62 films, including others by Satyajit Ray such as DAYS AND NIGHTS IN THE FOREST (1970) and THE MIDDLEMAN (1976). She also appeared in James Ivory's THE GURU (1969) with Michael York and Rita Tushingham, as well as James Ivory's BOMBAY TALKIE (1970) with Felicity Kendal. In this film, Sen evokes the mystery and the animal energy of the wild young creature in an unforgettable portrayal of a girl in rebellion at becoming a woman and a wife and thus forfeiting her freedom. These days the film should be adopted by feminists as a manifesto statement. Satyajit Ray was notable for making many films sympathetic to women, girls, and children, and he had a rare understanding of the vagaries of feminine psychology. His films are often as much psychology lessons as they are high art. And he had the ability to get his actors and actresses to give of their best, and then more besides. Certainly, Ray's films are some of the most emotionally moving and psychologically profound works of cinema ever made. But in addition to that, they are technical masterpieces as well. For this film, Ray was director, producer, writer, and composer of the music. Ray was certainly one of the three great Bengali geniuses of the 20th century, another being Rabindranath Tagore himself, and the third being unquestionably Sir Jagadish Chandra Bose, the scientist who collaborated with Albert Einstein, and after whom Bose-Einstein Condensates are named. (But if you have never heard of Bose-Einstein Condensates, you are forgiven, as they are highly technical, and even most physicists have never heard of them.)
    7arunavaghosh-38673

    The Legendary of Bengali Cinema!

    When the writing is of Kaviguru and the depiction is of Ray, what can it be other than a true Masterpiece! Of the three segments, I like the last one the most. The horror of that segment can be felt if you are really immersed in the movie. If you are watching it just to watch, then you may not feel anything, but if you are really into the film, then you can feel every word.

    Without any superior technology, the acting and the depiction of the actors and actresses, and the director, respectively, have made it very real. I am giving it a seven because of my own taste. This piece is from the olden days, and for that reason, the fluidity is missing. But, I have that much sense to call it a MASTERPIECE.
    9smkbsws

    "successfully make us cry, scared or giggly"

    In the year of Tagore's centenary, Ray made a documentary about him, and this anthology. Based on three short stories of Tagore, for which he should have got another Nobel Prize I think, the titular women are the central character of the stories. All shot in wide angle cameras, these stories are mostly filmed in rural bengal and the beauty of it enhances through the lens. And speaking about beauty, all the main mans - oops, womans - here successfully make us cry, scared or giggly, accordingly to the different genres of the short films in it. Eventually we will get better supporting characters and awesome ensemble in Ray's films, but this should be noted for writing so much strong and prominent non-lead characters in it.
    Ven-3

    How to make a movie from a simple story !

    I have been a fan of Ray for a long time and I have seen most of his famous films. This film was not available for some time because the quality of the film was deteriorating so badly that they had to restore the entire film. Originally made with three entirely unrelated short stories by Nobel Prize winner Rabindranath Tagore, the restored version has only two stories of the original three. In both the stories Postmaster and Samapti you will find the inimitable Ray touch. You can see the same neo realistic portrayal of simple lives and events of ordinary people. Postmaster evokes a feeling of pity for the young girl, but at the same time it seems to reflect the strength and courage of ordinary people going about their lives. The second story "samapti", though not as tight as the first (it winds around a bit before it reaches a climactic finish) again pours life into a simple story about a young girl who is reluctant to let go of her childhood and who is pushed into the world of adulthood. Aparna Sen ( Ray finds such beautiful women to play in his movies) plays this part brilliantly. The picturisque Bengal country side comes to life in this colourful black and white film. A must see for anyone who likes films.
    mazumdar

    Delightful vignettes about women in society -- hilarious (PLOT DISCUSSED)

    Originally, this movie comprised _three_ separate stories by the legendary Rabindranath Thakur (Tagore); hence the title "Teen Kanya" ("Three Daughters"). However, the subtitling could not be finished in time for a Tagore anniversary, so the middle story, a ghost story, is not included in the videocassette, retitled "Two Daughters." In the two remaining stories, we explore the lives of two girls living in a world not of their making, facing their fates with limited options. The first story, "The Postman," is about a lower-middle-class bourgeois city boy who goes deep into the Bengali countryside to take a job as a village postman. The "daughter" in this story is Ratna (nicknamed "Ratan"), his servant, a little slip of a girl. In the west, this girl, an orphan, not even at the age of adolescence, is a child. How can she cope? What can she look forward to? The second story, "Samapti," is about another girl in rural Bengal, this one a little older. She's what we would call a "tomboy." The life of an adult woman in this society -- a housewife -- wouldn't seem to be much in her taste. She is active, vivacious, lively, brazen, playful. She is known as "Pagli" ("crazy") by the disapproving villagers. But it is these very qualities that attract the attention of Amulya, a young college graduate who has returned home to his widowed mother to be nagged by her to settle down and take a wife -- a traditional, shy, modest, and, in Amulya's view, boring wife. Despite the serious subject of these two stories, they are actually quite funny. The second story is even hilarious, with a couple of near-slapstick sequences. (In the scene in which Amulya breaks the news to his mother as to which girl he really likes, pay close attention to what's happening in the background.)

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      The "Monihara" segment of the film was dropped for the first international release because subtitles could not be finished in time due to budgeting constraints.
    • Citations

      Ratan (segment "Postmaster"): I can sing too.

      Nandal (segment "Postmaster"): Is that so?

      Ratan (segment "Postmaster"): I can sing now if you like.

      [singing]

      Ratan (segment "Postmaster"): In the lonely forest, A little girl is crying, Calling for you, Tears drop from her eyes, In the lonely forest, A little girl is crying, Calling for you, Tears drop from her eyes, With a trembling voice, She keeps calling out, With a trembling voice, She keeps calling out, The girl is lost in the forest, And nobody hears her, Nobody answers her

    • Versions alternatives
      Original Indian version includes three episodes and runs 171 minutes; the version released in the USA (retitled "The Two Daughters") features only two episodes and is 114 minutes long.
    • Connexions
      Features Conversation with James Ivory (2010)

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    FAQ17

    • How long is Three Daughters?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 15 septembre 1993 (France)
    • Pays d’origine
      • Inde
    • Langue
      • Bengali
    • Aussi connu sous le nom de
      • Le directeur de la poste
    • Société de production
      • Satyajit Ray Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 81 200 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 53 minutes
    • Couleur
      • Black and White
    • Mixage
      • Mono
    • Rapport de forme
      • 1.33 : 1

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