After watching "The Padman", the overall quality is very good, but after watching it, I always feel that there are a few strange points in the film's rhythm and narrative processing, which I have to take care of:
1.
The emotional rhythm of the first and second half of the film is too different. At the beginning, the male protagonist cannot be understood by the world, and the invention process cannot be tolerated by traditional customs: women's menstruation cannot be mentioned, otherwise it will be humiliating to her. Even when he told the university professor that he wanted to make pads, the other party said that he couldn't afford the millions of machines and advised him to be realistic. And the male protagonist created a machine. After getting to know Parry, the whole plot went smoothly immediately. Even went to the United Nations to give a speech, and the English was 666 immediately, humorous and funny, and the whole process was open. This kind of optimistic rhythm change makes me feel very uncomfortable. The male protagonist has never been very good at words before, and suddenly he gave a speech in the United States to hold the audience, a feeling of the master of the world, although he did a lot of things. Great, but suddenly almighty narrative rhythm that feels like a masturbation and orgy of national pride. In particular, the male protagonist won the Presidential Award for Invention. The most powerful inventor in India said that he does not think that India has a "population" of one billion, but a "mind" of one billion. The various conceptual obstacles encountered by Lenovo's male protagonist always feel that such an equation is still a bit too optimistic.
2.
Why does the male protagonist insist on inventing pads? The harmfulness of traditional cloth is not intuitive enough. Just a few words from the doctor, too abstract. The harm of the most intuitive traditional pad method in the whole film is the scene where the girl needs to run away when changing the cloth. Is that only a matter of a few minutes? Why did the harm directly become "no schooling for 5 days"? It's strange... and the women who had been in the room outside with the cloth before seemed to be working as usual. But in the United Nations speech, the male protagonist said that he helped women win five days of life each month. Because with the pads, you can go back to the house and work as usual.
In fact, I think the logic here is weird: the male protagonist was not accepted at first, not only because of his unsuccessful invention, but also because of the traditional culture of India. It is shameful to think that menstruation cannot be brought up for discussion. So after the successful invention of the male protagonist, why can everyone accept the pads? In the film, because Parry was involved, she, as a woman, went to introduce this thing to women. And, forming a female internal sales chain. Although the problem of willingness to use has been resolved, from the beginning to the end, the fact that menstruation cannot be lifted has not changed. During menstruation, even if a woman has a pad, can she be "clean" and enter the back room? In fact, this traditional culture has not been solved yet. So that's why the big success rhythm in the second half feels a little too extreme. There was a feeling that all problems seemed to be gone. It feels strange.
3.
The male protagonist did not end up with Parry. When they started going village by village and stationed in factories, I was guessing at the end of the choice, thinking that Parry had no chance. After watching the film, I was very emotionally unacceptable to Parry's ending. But after thinking about it, I let it go: Parry was moved by the male protagonist because he wanted to help others and do good things for India. What she likes is the madman-like idealism of the male protagonist who is working hard for everyone's happiness: he is unwilling to resell the patent to a big factory, keep the pads expensive, and get rich alone. Parry was completely moved by this "madman" who didn't think about himself and was out of touch with reality, so he was willing to help him. If Parry lets the male protagonist stay and choose himself, the male protagonist's life circle will not go back, and it is not completely "for others". He was always in his village, and even when he left, he wanted to go back again. Parry knows the male protagonist well, but they are really two different classes of people. Although the spiritual world is the same. The male protagonist cares about other people's settings. In fact, it can be made clearer at the beginning. The most obvious main line at present is "protecting his wife". Although he also cares about his sister, sister, and the little girl in the neighborhood who is just puberty, the first half of the film The motive still feels like "an experiment to protect my wife", so although I have the consciousness of "helping more Indian women" later, it is a bit abrupt. So Parry's understanding of the male protagonist can only be understood after watching the film and thinking about it.
In essence, although this film advocates the protection of women, it is still a film in which men protect women, or women assist men to protect women. It's a different approach to feminism that equals or even replaces male power with the outright women of "Wonder Woman".
The details of the whole film are very solid, and it has a very intuitive presentation of Indian culture and life. It's hard to imagine that the setting of "menstruation can't be said" will actually happen. I don't know what's going on in India now. Women's rights in India are really sympathetic...
So, to sum up in one sentence, although the plot development is a bit cliché, the presentation of Indian life and culture and the description of the male protagonist's exploration process are still very good.
PS The above discussion is about the film as a means of expression, cutting and presentation of the narrative, I think it can be optimized.
It doesn't mean that I doubt the real events or the motives or plausibility of the protagonist himself.
There is no doubt that the male protagonist in reality is a great hero.
(Straight and clear emotional stand guard)
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