Salaam Bombay describes street children and people from the fringes of society.
In this movie， most female and children characters are victims
Krishna is abandoned by his family and society. He shows innocent and compassionate at the beginning. But finally， his killed Baba. The last screen of this movie is Krishna stares into the camera and weeps.
Sweet Sixteen： a young girl from Nepal kept hostage at the brothel.
Rekha， a prostitute/single mother who lives with her daughter named Manju.
However， most male looks hideous.
Baba is a pimp， who filed to take his family responsibilities。
Chillum， Krishnas friend， is a drug addict. Finally， he died.
The narratives of victimization guarantee the audience interest and attention， because audiences always like these stories.
It seems real enough. First， audience see Bombays drug trade， prostitution， and child labor through the eyes of eleven-year-old boy， Krishna， who has arrived in Bombay after he has been abandoned by his family. Second， the film is directed by an Indian-American filmmaker. She has Indian background； the audiences always believe the director can depict her own culture accurately. Third， at the end of Salaam Bombay， an info shows that the film is for the street children of Bombay. This makes the audience believe that the film is real.
在印度的一个角落里，一个男子正在梦想……他梦见他拿着500个卢比来到了他母亲的身边，希望自己和母亲不在那么痛苦，可当他正要放到母亲手里的时候，却看到了四周都是和他一样的孩子，还有十多个很老很老的老人，这些人立刻把她包围了，他慢慢的被人群吞噬…… 出生于印度一座小镇上的一个中产阶级家庭，曾做过女演员。1976年，她进美国哈佛大学学习并在那里开始爱上了电影制作。学生时代她拍摄了一系列关于当代印度社会的纪录片，获得了一定的影响力。 米拉 奈儿的第一部剧情片《早安孟买》(SALLAM BOMBAY!)，展现了在孟买贫民区中挣扎的一个小男孩痛苦的生活，以纪录片式的手法和现实主义风格有力地揭开了流浪儿悲惨的经历，尽管是处女作，但平稳成熟，一举摘取了1988年坎城电影节金摄影机奖。 自80年代开始，米拉步奈儿就成为了印度电影在西方的一个标志性人物。她的其他片子包括...