The title of the film alludes to Theseus' paradox, most notably recorded in "Life of Theseus", wherein the Greek historian and philosopher Plutarch inquires whether a ship that has been restored by replacing all its parts remains the same ship.
Man Booker Prize winning author and political activist Arundhati Roy wrote, "Ship of Theseus is a profound and fearless film. It is fearlessly contemporary, fearlessly un-noisy and utterly beautifully observed."
Ship Of Theseus Film Full Movie
The character Aaliya's visual disability has been described as being central to the idea of the Theseus paradox, wherein one of her parts has been replaced as it was in the mythical ship. It is this replacement that affects her photography and is recognised as the central conflict of the film.[89] Her regained sight sees her relinquishing her natural intuition.[90]
The casting is spot on. All the actors have played their parts with subtlety and finesse. Aida El-Kashef as the blind Egyptian girl shows full conviction, as does Neeraj Kabi as the monk. The surprise in the movie is Sohum Shah, who has also co-produced the film. He is a kind of antithesis to so many star kids in Bollywood in the sense that he puts his money into his debut feature film not because it was a launch vehicle for him, but because the film deserved to be made. As a Rajasthani stockbroker he gets his part spot on. Also Read - Jacqueline Fernandez to Shilpa Shetty: Most expensive gifts Bollywood celebs have got; the whopping amounts will leave you stunned
I disagree with the reviews you have given . The script of the film is very good ! But Gandhi just failed to show it through screen play !! It has become a trend nowadays to praise an art film . Dont force urself to praise every art films . its like you obviously feel good when u get dirty water in a desert ! whatever the concept may be if u dnt have an art of showing it , its not an art film ! In one statement , the movie sucks !
Gandhi talks about all these themes in his film, hopefully the first of many more to come. Hopefully, it will also inspire and spawn the rise of more independent, thinking filmmakers. Just for this hope that he has instilled into us, with the arrival of Ship of Theseus, we as lovers of cinema must rejoice.
Wao... what a great movie...great experience. I would say it is huge vital and engrossing. u indulge with stories while watching this film. and about the director Anand gandhi, I can say he is the next in the same wave line as India proud on Mira Nair and Deepa Mehta directors.although...Im little upset with sensor board who cutt the one philosophical male nudidity scene.A must must watch movie...
Ever since the premier at the Toronto Film festival critics and viewers have been raving about this low-budget gem. A lot of people go as far as calling it a life-changing film, and rightfully so. It tells the story of three people from different parts of the world who face new ethical problems caused by a change in their body: a blind photographer who finally gains sight; an animal rights activist whose newly diagnosed liver condition requires treatment that involves animal testing; and a man who, after having a kidney transplant, learns about the black market for organ trade. The title refers to the paradox that asks if all parts of a ship are replaced, does it stay the same ship? A beautiful intellectual exercise.
The story can either be told in a few sentences, or not told at all. Here is a movie immune to spoilers: If you knew how it ended, that would tell you nothing unless you knew how it got there. And telling you how it got there would produce bafflement. The movie is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality. It's a breathtaking juggling act, and Nolan may have considered his "Memento" (2000) a warm-up; he apparently started this screenplay while filming that one. It was the story of a man with short-term memory loss, and the story was told backwards.
Like the hero of that film, the viewer of "Inception" is adrift in time and experience. We can never even be quite sure what the relationship between dream time and real time is. The hero explains that you can never remember the beginning of a dream, and that dreams that seem to cover hours may only last a short time. Yes, but you don't know that when you're dreaming. And what if you're inside another man's dream? How does your dream time synch with his? What do you really know?
If you've seen any advertising at all for the film, you know that its architecture has a way of disregarding gravity. Buildings tilt. Streets coil. Characters float. This is all explained in the narrative. The movie is a perplexing labyrinth without a simple through-line, and is sure to inspire truly endless analysis on the web.
The supporting cast does such a good job of supporting that one forgets just how bad the lead had been two-plus hours earlier. The standouts are the great Vinod Khanna, in a small but crucial role where he essentially stops the movie in its tracks at a key moment and explains to Sona's brother Raghuveer (Sonu Sood) that the movie depends on him letting Ram marry Sona, because it's a movie and, even though the kid can't act, movies tend to have happy endings. (Vinod Khanna gets to essentially break the fourth wall to explain things like this because it's Bollywood and he's Vinod Khanna and that's that.) As Sona's brother, Sood has such gravitas and charisma that he essentially carries the film as an auxiliary hero. He's solely responsible for making a film with one of the worst lead performances in years feel emotionally satisfactory.
There are a few core philosophical thought experiments at the center of our most popular movies, like ancient cheat codes that filmmakers know we'll pay to see depicted on the big screen over and over again. So while you may think that you're just watching an entertaining movie, you might be pondering big, heavy ideas that have been vexing humanity's deepest thinkers for millennia. For instance ...
Of course, at the end of The Dark Knight and Mexican standoffs not directed by Quentin Tarantino, cooler heads prevail, and nobody pulls the trigger or presses the button. The Mexican standoff is a chance for us to set up and defuse the trap that we all find ourselves living inside of every day. Hell, even Quentin Tarantino learned his lesson. His first movie ends with a room full of mobsters doing exactly what the prisoner's dilemma tells us we all would, and his second, much more successful movie ends with Jules Winnfield philosophizing his way out of a Mexican standoff. The truth is too painful.
But clones are actually great at illustrating an ancient thought experiment called the ship of Theseus that movies have been using and reusing to blow minds for years now. It was first posed by Plutarch, an ancient Greek philosopher who asked his audience to imagine that the ship sailed by the Greek hero Theseus was repaired so much over the generations that eventually none of the original wood remained. Is that still the ship of Theseus?
When we're watching an action movie, we might think that we're watching a protagonist slaloming through a bunch of explosions to an improbable happy ending, but it's just as accurate to say that we're watching the theory of quantum immortality illustrated over and over again. If there's even the remotest probability that the gun will jam, that's what will happen in the universe that the protagonist perceives. According to the many worlds theory, an action hero is the perfect metaphor for how we experience the world around us: He gets in a car wreck and just happens to be thrown clear. Bullets fly all around him, but none hit. Aliens attack, and crazy old Randy Quaid flies his crop duster into the mother ship. There's a nuclear explosion, and he jumps into a handy refrigerator. Regardless of the dangerous situation, the action hero will always survive. And we love watching action movies because the action hero's version of reality is the closest the movies come to our own version of reality, in which we keep getting insanely, improbably lucky.
But in spite of this uneasy history, they were all improvising together now.The violist had been creating a sort of a movie in her mind about"Dockworkers" that accompanied the playing, and she knew where tointroduce certain strokes when she got to a certain point in the film. Therewas, for instance, one moment where she pictured the workers carrying crateafter crate and one of the crates burst open, revealing glorious,multicolored birds that came out of the box like racehorses, their panoply ofcolors prisming the air, their brightly hued feathers scattering on the graydock like some deranged but luminous painting. At this point she knew thatshe had to deliver a series of fast, harsh upstrokes while she imagineduntangling a stuck comb from gnarled hair, and as the notes emerged theytwined around the trumpet, which itself had been growling but now would dropto something more like a purr. In her mental film, the dockworkers weregaping, pointing, were faintly squealing, because how could these avianwonders have been what they were lifting all the time, something so light andbuoyant, cargo that would have lifted itself, if only they had allowed it, ifonly they had known. And as the ensemble continued--for they would not stopplaying, not for months and months--she would continue to map out the film inher mind. One dockworker for the first time would leave the dock, stowingaway on a ship in the harbor and facing the grim throat-clamp of the hold,then winding up in a strange tropical land, from whence the colored birdscame and where they were hardly even the foremost marvel. And the moviecontinued, became, in fact, many movies, because it would sometimes take aperipheral character and depart with that character and pursue his or herlife elsewhere, sometimes building on whatever was in the news that day (theyhad the news delivered daily to their performance space, something theflutist had insisted on as their manager, using it both to keep up with theworld and to mop up the trumpeter's spit). Soon they were in thepaper--one at a time, they would go aside for interviews, and they quicklybecame infamous and famous at once, their fame growing wide and wild, tillthe world grew bored with them. Interest spiked again several months laterwhen the wife of the clarinetist swallowed a whole bottle of pills andannounced in a note that her husband had been in love with the violinist.This news (that of the suicide) came not via the newspaper, but via her ownfather, who'd never liked the son, never trusted him, never found hispursuits to be anything other than lackadaisical, but who had developed acertain degree of admiration for him once they had been playing for one, thentwo months--the endurance, the stamina, the dedication, the history-making,all had the effect of winning him over belatedly to his son-in-law. And so itwas with both an extremely heavy and embittered heart that he came on stageto explain, as unobtrusively as he could, that she had ended her life. Theygrieved together, limbs interlocked in embrace, the music forging on aroundthem. 2ff7e9595c
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