Shubho Mahurat

2003
2 h 30 min

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Adicionar um enredo no seu idiomaAn actress mysteriously dies after the "Shubho Mahurat," a celebration of the first shot of the film. A journalist and her perceptive aunt investigate.An actress mysteriously dies after the "Shubho Mahurat," a celebration of the first shot of the film. A journalist and her perceptive aunt investigate.An actress mysteriously dies after the "Shubho Mahurat," a celebration of the first shot of the film. A journalist and her perceptive aunt investigate.

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7,7/10

621

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Prêmios
- 2 vitórias e 1 indicação no total

Fotos

Elenco principal37

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Sharmila Tagore

Padmini Choudhury

Nandita Das

Mallika Sen

Kalyani Mandal

Kakoli Sinha
(as Kalyani Mondal)

Moumita Gupta

Kalpana

Aparajita Adhya

Pramila

Tota Roy Chowdhury

Arindam
(as Tota Roychowdhury)

Anindya Chatterjee

Subhankar
(as Anindya Chattopadhyay)

Rajesh Sharma

Sunil

Kaushik Banerjee

Pranabesh
(as Kaushik Bandyopadhyay)

Jishu Dasgupta

Kanai

Dibya Bhattacharya

Abani Majumdar

Sumanta Mukherjee

Sambit Roy
(as Sumanta Mukhopadhyay)

Rakhee Gulzar

Ranga Pishima

Saket Bandyopadhyay

Boy at the Stairs

Satrajit Bandyopadhyay

Boy at the Stairs

Urmila Bhowmick

Newsreader

Abhijit Brahmachari

First Policeman

Sumit Chakraborty

Second Assistant

Enredo

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Curiosidades
Sharmila Tagore and Rakhee Gulzar appeared on-screen after 30 years since they starred in the Hindi movie Poema de Amor (1973).

Erros de gravação
Padmini is handed a drink without a straw in it. However, the shot used for the flashback is a different take and the glass has a straw in it.

Conexões
Version of A Maldição do Espelho (1980)

Avaliações de usuários9

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Avaliação em destaque

This day and age

This day and age? Difficult to see why a novel that formed the basis for a popular (if not very good) American film in the 1980s and an excellent British television adaptation in the nineties should somehow have become so antiquated in 2003. Agatha Christie novels never work terribly well as whodunnits in film versions since it is almost impossible to duplicate in a film the devices she uses so superbly to fool readers in her novels. What Rituparno Ghosh has done is something very clever indeed. He has rewritten the piece so that in effect the whodunnit elements become less important and the psychological elements of the story (never a particular strongpoint with Christie) are much enhanced. The adaptation to an Indian situation is extremely adroit and all in all this is quite the best film (as opposed to television) adaptation of an Agatha Christie novel that I have ever seen (and I think one way or the other I have seen most of them).