这是很小很小的时候在电视上看到的极少数美国电影之一，当时被那狗血至极的剧情感动得一塌糊涂，反英反美的决心差点减弱。还记得米歇尔.菲佛第一次拉开面纱的时候，惊艳到绝倒。后来怎么也不相信那过于单薄的冷艳面孔能让我惊流口水到那程度。
后来才发现演小扒手的是小马修，现在他老婆都要演第二部欲望都市了。倒是男主角后来蛮喜欢，欧洲演员就是丰富些。
这些年都没敢再看这片，怕再看当年的美好感觉彻底消失无踪。可见某些电影就像爱情一样，只能在特定时刻出现，才会带给你特定的美好感知。

因为黄莺莺《黑夜白天》这首歌看了《鹰狼传奇》。看之前差不多就已经猜到电影讲的是男女主相爱但无法相见的故事，放现在看多少有些老套，内心就像老鼠菲利普在误入男女主的爱情故事时的反应差不多：什么无昼无夜，真的会存在失去记忆还为了对方坚定等候的人吗？

电影虽然是传奇，但生活中的确有不少《黑夜白天》这样类似的情感，不止是爱情，很多事情都是如此，越想得到什么却无论如何都得不到，就像黑夜白天、太阳月亮一样，短暂相遇又彼此错过。

故事发生在中世纪，主教对伊莎贝魂牵梦绕，但伊莎贝却和上尉纳瓦相爱。主教因爱生恨，诅咒纳瓦夜晚变成野狼，伊莎贝白天变成鹰，且成为动物时对人的记忆全无，永远不得以人形相见。

这对恋人虽如影随形，但咫尺天涯，后来在教父和老鼠菲利普的的帮助下，纳瓦和伊莎贝利用日食解除魔咒，重新得以相见。

最喜欢《黑夜白天》这首歌里“我和你就像黑夜白天，匆匆地见一面，就断了所有所有思念，一切一切缠绵，那些那些魂萦梦牵”这句，尤其是黄莺莺的声音唱“魂萦梦牵”这个词简直太缠绵了，每次听到的时候都感觉自己快要被牵走了。而且这句是最贴合《鹰狼传奇》电影情节的一句，结合电影本身和想要见面却怎么都见不到的情绪感受就更深了。

不过现在的我也终于相信：黑夜白天、太阳月亮虽然总是擦身而过，但只要坚定的等待，在日食和日月同辉的时候总是可以遇到的。

(教父和老鼠菲利普好可爱)

疲惫的妄执填满龟裂的脸
我们却依然在黑暗之中找寻无法抵达的彼岸

只有逻辑颠倒才能让你触摸我爬满伤痕的胴体
只有无日无夜才能让我看到你猩红的眼睛

亲爱的 最可怕的是你我心中的痛苦无根无由
它衍生于一个没有开始的轮回
自然也就没有结束

就请让我拥有这一切破碎的片段
虚伪地面对生活的希望
暗暗祈祷黑夜的来临

若我所做的一切还不足炼铸一个逃避的牢笼
那么 生活何在

The keyword of this movie is transformation, both physical and mental, physically for the lovers, while mentally for Phillips and the preist, who both done wrong things before, and got redemption in the end. The only one main character who didn't change is the bishop, who sold his soul to evil power and drives crazliy by his own desire.

Also, the movie combines fantasy with philosophy perfectly. The curse makes the lovers live a one-half life and fate to be "Always together, always apart" and let the curse broken on the eclipse moment implie philosophy of life, time, opposite, day and night, exchage, ect. One funny thing is that most of the philosophical words are spoken by Phillip, who was once a thief, which sounds ironic and bitter, but showing that some wise and brave mind may hide below the disgraceful surface, which the ashamed history may be caused by unforced power, like poverty and miserable childhood, and also which may make no effects to let the man be the others' truest friends.

Then, great compliment to roles-selective job. The young Michelle Pfeiffer is stunningly beautiful, and she plays in a softble way. Rutger Hauer plays a persistent and tough knight, who would like to sacrifice anything for love, and thinking of him, also remind me of his unbelivable spontenous performance in Blade Runner (1995, Ridley Scott), which makes the lines (All of moments will be lost in time, like stars in rain, time to die. ) become one of the most classic ones in film history. Also, Matthew Broderick interprets the vulgar bumpkin quite successfully in a vivid way, cute and premature. John Wood creates a evil, cold blood bishop, who paid his life as price of the cruel curse.

The only thing that hard to embrace is the ancient version on-road midi style of music, which makes the soundtrack barely belong to a consistent genre.