这是一部看完2分23秒预告片就想打5星的电影。不为别的,就为最后一幕特瑞斯穿过人群目光如炬的寻着卡罗尔,而卡罗尔侧过交谈的脸望向她后,两个人远远的,相视而笑。这一幕太赋有张力,以至于看着她们的对视,我心跳都快漏了半拍,所谓美得令人窒息大抵也不过如此吧。
那一幕中特瑞斯穿过人群,穿过痛苦与成长,穿过凄凉荒漠与泥淖沼泽,定定的看着卡罗尔,继而义无反顾的走向她,也走向了自己的命运;命运的另一端卡罗尔同样望向她,眼神笃定又昧味,我知道你会来,所以我等。一眼万年。
还好不是“此刻我多想拥抱你,可惜时光之里山南水北,可惜你我中间人来人往”,还好一切都还来得及,我为这样的Happy Ending暗自庆幸。有人曾问某位女同博主,“你开这个微博是不是在说还是有人幸福的?”她回,“不是,是在说还是有人在坚持的”。同性恋题材影片的Happy Ending意义大概也在这般。
整部影片以倒叙的方式,建构于五十年代美国的大背景下,服饰、音乐、建筑、交通工具复古、优雅并透露着极简的禁欲系。片头以卡罗尔与特瑞斯最后的进餐为开始,一辆火车驶过,镜头拉到两人第一次见面的场景,特瑞斯是给卡罗尔推荐小火车模型的超市雇员,如同后面卡罗尔给特瑞斯的信中提到“Everything comes full circle”,一切恍如隔世,世间万物千回百转归于原点,犹如轮回。
1.Some people change your life forever.
凯特所饰的卡罗尔几乎满足了我对御姐的所有幻想,漂亮优雅、温柔多金、有思想会疼人,重要的是,她还分分钟向我们展示教科书级别的撩妹技能。光是性感的声线,听一句都害怕会怀孕。这样的卡罗尔,有谁能不被她吸引?于是特瑞斯在一场猝不及防的对视中与卡罗尔相遇,只因为这一眼,”Some people change your life forever.”卡罗尔故意遗落的手套,特瑞斯痴汉般盯着她忘记下单的神情,注定纠缠不清。
2.试探
卡罗尔约特瑞斯第一次午餐,她问”Did you live alone?”,这就是成熟女人的聪明之处,她不直接问你“你有男朋友吗?”她问你“你是自己一个人住吗?”年长的人,阅历将她们淬炼的懂得如何将问题说的进退自如,既不令对方难堪又能保持自己的空间。
3.What a strange girl you are,flung out of space.
卡罗尔对总是神色游离的特瑞斯说这句话,是我最喜欢的场景之一。鲁尼的笑很美,是那种不自知的美,与《龙纹身的女孩》中叛逆不羁形成鲜明对比。《龙纹身》里她是一个主动女上位007的朋克攻少女,而《卡罗尔》里她俨然成为一个无意中自带一抹娇羞的大写弱受。很多人不理解特瑞斯对卡罗尔的感情,以及频繁出现的羞赧,其实只要暗恋过的人就会知道,那是内心的小雀跃与不确定的体外表征。面对一个比自己优秀的年上,崇拜带着点暧昧,被夸奖后的惊讶跟欣喜,对她话语的揣摩跟模仿,特瑞斯不过就是年少时懵懵懂懂的自己。
4.信
特瑞斯第一次写下Carol名字的时候,我有被打动到。网络时代你见过很多温暖的小段子,而作为一个不再年轻的怪阿姨,我经历过手写信的时代尾声。那个时候,花上一整个夜晚,写一封词不达意的信,寄给一个并不在未来里的人,想象读信人的表情,期待她能感受到自己的全部情谊。Carol,写在纸上的名字,记在心里的样子。
5.你不是不会拒绝,你只是不会拒绝她
前面看特瑞斯制止了她杂志社朋友的亲吻时,并未想太多,直到后半部分监听风波过后,特瑞斯跟卡罗尔自责到,“是自己从来不懂拒绝,什么都不了解却还是什么都不拒绝”,我突然就笑了出来。特瑞斯,谁说你不懂拒绝?你拒绝了未来男同事的吻,拒绝了男友的法国邀请,拒绝了更好更圆的月亮,你只是,不拒绝她。
无力拒绝。不想拒绝。卡罗尔每次询问你”would you?”,你都不假思考毫不犹豫的回答”yes,I would”,除了最后一次,都是,毫不犹豫。第一次约饭,你愿意吗?我愿意;第一次问你愿意来我家吗?我愿意;第一次问我可以去你家吗?我愿意;第一次问,你愿意跟我一起去西部吗?我愿意。
这才是问题所在,你不是不能拒绝,你只是不想拒绝,她。
6.最好的爱情,最坏的身份
看《卡罗尔》我哭不出来,因为太真实了,反而让我时刻惊醒自己,你要抗住,这就是生活,你不能哭,不然你就输了。可以说,这是个单薄又俗气的故事,女人跟女人的感情本来就细腻无比,表演的过了容易显得用力过猛,表演的清浅又让感情看上去太羸弱,所以,几乎是凯特女王跟鲁尼的演技和内心戏撑起了整部电影。
鲁尼的表现让我惊讶,甚至比女王更动人,在从卡罗尔家里出来坐火车回住处的一幕戏中,她倔强的眼泪从脸上掉下来,我心里也跟着落泪。那是要多委屈,才能击垮对卡罗尔的迁就,我喜欢你,你也处处暗示对我有好感,你约我到你家却意外撞上你的丈夫,他的责问你的冷淡,迫使我就这样狼狈而逃。刚刚我还弹奏潜藏表白的钢琴曲,下一秒就被你挥之即去,我到底算什么?你到底喜欢我吗?还是无聊寂寞时的消遣?
特瑞斯怀揣着最好的爱情,却背负着最坏的身份。
7.什么是道德?
在禁止卡罗尔见她女儿的强制令中,提到的理由是,Morality.看到Carol提到Abbey恍然大悟又欲言又止的时候,我默默骂了句fuck,甚至我想到余虹在《颐和园》里讲的,“什么是道德?两个人在一起才是道德”。我为卡罗尔跟特瑞斯难过,也为Abbey难过,因为在世俗的观念中,爱与道德竟然是不相容的,这真是讽刺。那是五十年代的美国,又何止是五十年代的美国,那不就是现在的世界吗。有的人永远不明白,欺骗自己才是最大的不道德。
8.I fell useless.
这是特瑞斯在卡罗尔告诉她,自己在强制令下无法看望女儿时所说的话。之所以对这句话印象深刻,是因为这似乎是同性群体中最普遍的无力感,“我觉得自己很没用”。我既没有能力为你分担艰辛,又找不到方法令你舒展愁容,看起来陪伴是唯一能做的事情,也有文艺的话来相称“陪伴是最长情的告白”。
可是,我并不只想陪伴你。
我想在你丈夫质问你时挺身而出,告诉他我们是因为相互喜欢而认识;我想同你一起争夺回监护孩子的权力,一起打扮世界上最好看的圣诞树;我想带你逃离世俗的社会,在你说my angle之前吻上你。我想的很多,可是,我一件都做不到,我甚至无法以家人的身份在你的手术单上签字,这是我最难过而无力的地方。
9.偷来的时光
床戏拍的美的不多,《卡罗尔》要算一个。美不是色情,不是你想跟她做爱,而是除了她们两个,你觉得谁跟她们做爱都显得不美好。《卡罗尔》的床戏时间不长,也不激烈,可是你看的时候就会觉得暗涌流动,你会不忍心联想污秽。凯特的淡然自若,鲁尼的紧张颤抖,卡罗尔霸道的索取,特瑞斯默默的承受,轻车熟路的年上,红到耳根的年下,缓慢又炽热,相拥又绝望。那一刻我甚至怀疑她们在戏外是不是相爱的。
很少有这样的床戏,让人看的难过。她们迫切的将自己献给对方,她们知道前路无望而漫长,好像在一起的一小段时光都是偷来的,总是要还回去。所以离别前与卡罗尔亲近的特瑞斯,眼睛里挤满了沉默的悲伤,我担心她就想这样死在卡罗尔的怀里。其实一切,她是有预感的。
10.抱得上一晚,撑不过一生
发现被监听往回赶的路上,特瑞斯坐在副驾驶上哭着自责,她说自己应该拒绝的,她怨自己什么都不懂就什么都接受。卡罗尔停下车,抱着她,吻她,帮她擦眼泪,轻声说”I took what you give willingly”.听到这句话,我难过到想流泪,“我想要的你可能全给不了,可是你愿意给的那一点,我都想要”,她们彼此给予,却又暗自担忧因自己给对方带来的麻烦。悲情两难。
特瑞斯从小是独立长大的,从她干脆的语调也能感觉出,她并不软弱,或许是鲁尼本身的特质,特瑞斯给人的感觉近乎是强硬,可是,只有面对卡罗尔的时候,她整个人才会软下来,成为一个需要呵护渴望宠爱的小女孩,这里面或多或少有对卡罗尔的依赖。我愿意相信她懂”I took what you give willingly”.
最后卡罗尔还是走了,为了回去争夺女儿的监护权,像及了一个事后跑路的段数,然后前女友来收拾与现女友的残局,留下一封既渣又深情的信。包在被子里的特瑞斯如同被抛弃的小白兔,无辜的感受着昨晚的温存,揽入怀中的一晚,却还是撑不过一生。
11.原谅我不能陪你长大
“you seek resolutions and explanations because you’re young”.我没想到卡罗尔的信中会有这样一句,看起来如此狠心。明明是你主动撩骚,最后却让人家小姑娘自己去找解决的方法跟解释,就是因为她年轻。突然的就想起看到的一句话,“珍爱生命,远离人妻”,对于这种有备胎和下家的人,敬而远之是上策。可是就在后面她哑着嗓子对Abbey说”I should tell Therese ,wait”时,我内心隐隐作痛的替特瑞斯原谅了她。
她不是不想陪你长大,只是有更重要的人需要她。是,孩子。无论如何,让一位母亲处于选择自己孩子跟爱人两难的位置上,都过于残忍。
于是,她选择让特瑞斯独自成长,即使特瑞斯怀有误解与怨恨,也不多解释一句,只是说”I release you”,她在等待,等你长大,等以后成熟的时机,再共你促膝把酒。
12.I miss you,I miss you.
特瑞斯在暗房里洗过去的照片,一张张都是关于卡罗尔。照片上的人慵懒妩媚,照片外的人情欲暗动,她走出去拿起电话又放下,又拿起来,拨通。她叫她的名字,”Carol”,电话那边的她手指徘徊在挂断的按钮处,煎熬无比,最后,挂断。特瑞斯对着忙音说,I miss you,I miss you.
连想念你,我都无法说给你听。两个人的隐忍、克制与轰轰烈烈。
13.不是我们不美好,是这个世界太丑陋
这并不是一部冲突不断的片子,以至于无法令人血脉喷张、震惊无比,即便节奏因为电影的时长看上去有些赶,但故事情节发展及其缓慢的,卡罗尔与他丈夫最后的谈判,大概是影片唯一引爆点。可是连这个场面,都被拍成是一种被压抑着的感觉,没有撕破嘴脸。
这一段凯特的演技着实让我大为感叹不愧是女王。发颤的声音、隐忍的表情,你会担心下一秒她就要崩溃了,就要歇斯底里了,就要咒骂整个世界了,但是,她没有。哪怕内心早已腥风血雨,表面还是死死的绷着,绷着自己的尊严与优雅,绷着对特瑞斯的直视与无悔,穿上外套,离开身后的卑鄙与肮脏。
在离开之前她说了这样一句话,”and it will get ugly,we’re not ugly people”。这句令我异常难过,想到《奇葩说》里蔡康永第一次失态痛哭的场景,好像一个委屈的孩子在恳求这个世界的包容,他说“我们不是妖怪”。为什么要世人包容呢?如若是正常,如若是平等,为什么要别人去包容,包容给人一种高高在上的感觉。卡罗尔的丈夫用了无比卑劣的手段去偷窥她们隐私,而卡罗尔最后却说”we’re not ugly people”.她对人性还抱有一丝希望,她希望大家不用凶神恶煞的以丑陋嘴脸相见,她希望这个世界是美好的。
14.你不在的日子,我兀自成长
是不是所有人都有一种高估自己的倾向,愿意看到别人的失落或欢欣都是因为自己?卡罗尔濒临崩溃的谈判过后约特瑞斯一起吃饭,这时的特瑞斯已经是某著名杂志的摄影师,小文青实现了自己的梦想。卡罗尔说,“我觉得你长大了,现在变得特别好”,停顿一秒问,“是因为离开我吗?”
看到这里我忍不住笑,天呐,为什么人们总是心知肚明却还是想要听别人亲口承认。
然而特瑞斯跟我预想的一样,急切又坚定的回答,NO.我又忍不住笑出来,女人之间的较量总是这样,看似不着边际,却又毫厘不差的暗自博弈。你当初狠心的离开了,那要我怎样?我只能兀自成长,我不是自愿的,我也想有你时刻在旁为我安抚保我周全,可是是你逼我要自己长大的,你说release,如今你又跑来问我,是不是因为你?
不,我偏不让你得逞,我就不承认一切都是因为你,痛苦因为你欢愉因为你颓废因为你成长因为你变好因为你,尽管一切与你有关,如今我却不想再轻易交出自己。“难道 这次抱紧就不会落空?”
而且我这次不仅不想承认是因为你,我还要拒绝你。即使你表达说,“我离婚了,孩子归丈夫,我在美国最贵房价的地方有一套大房子,你愿意搬来跟我一起住吗?Would you?”停顿五秒,”I love you”.(这样的表白,哪个妹子不脱光了跟她走...)
“No,I don’t think so”.特瑞斯学会了拒绝她。
我想,卡罗尔内心当时也是崩溃的,“我自己养成的花竟然在我不在的日子学会了拒绝我,让我冷静冷静”。但是,御姐总是有这样的本事,她深知特瑞斯的拒绝不是因为不爱她,而是小姑娘长大了,有自己的骄傲了,她不愿被呼之则来挥之即去,她想要平等的交往。
于是,她退一步。她吃定了特瑞斯心里有她。
15.我知道你在等我,所以我去寻你
这场电影规避了尽可能的人,只留下几个必须出现的角色,这就太考验演员的演技功力了。而鲁尼在这部影片中,丝毫不逊色于凯特,甚至在我心中,鲁尼更为真实出色那么一些(她演完真的不会弯吗...)尤其是最后几慕戏中,鲁尼的表现惊为天人。
卡罗尔在用餐时与她的对视,鲁尼复杂的眼神,因为深呼吸引起前胸轻微的起伏,欲拒还迎,欲迎还拒的拿捏,倔强又骄傲。(大魔王竟然忍住没有强吻上去...)
最后一幕,特瑞斯穿过人群眼光寻找着卡罗尔,当她发现卡罗尔坐在被环绕的桌子后面时,特瑞斯眼神中是闪过那么几秒犹豫的,她停下来,也许是在回想过去,也许是在担心未来,可是也只有那么几秒,她还是义无反顾的走向了卡罗尔,走向了自己的命运。
而看到她的卡罗尔,并未显得多么惊讶,而是望向她,笑的意味深长。
“我知道你会来,所以我等”
“我知道你在等我,所以我去寻你”
没有谁更技高一筹,也没有谁更毅然笃定。
16.所谓视角转换
从电影一开始,卡罗尔就是处于被仰视的角度,主动权一直握在她手里;而特瑞斯就是个孩子,对她充满了仰慕和崇拜,被动的接受着。她们之间是不平等的。不仅是阶级身份地位,更多的是精神上的差距。
但这些差距在慢慢被化解。
特瑞斯的拒绝、穿着、工作、思想,无一不显示了这些差距的缩小,小姑娘也有长大的时候,这种平等,是两个人接下来交往的前提,卡罗尔是先知的,所以她在离开的时候信中才写“当那天到来时,我希望你能想象我会在那里,迎接你,我们的生命将在那里交汇,如同永恒的日出。但是在那之前,我们之间不能有任何联系,我需要做很多的事情,而你,我亲爱的,你需要做的更多...而我唯一能做的就是放手让你走”。
很多人看到这里会说卡罗尔渣,可是,这正是一个成熟女人深思熟虑后的决定,她在逼迫特瑞斯长大。而特瑞斯做到了。
17.两次凝望
第一次是卡罗尔坐在车里,望着走在街上的特瑞斯,想喊住她又不能,只有看她消失在自己的视野之中还没有回过头。凯特完美的在无声之中表现出卡罗尔内心的纠结与不忍,但又必须克制自己冲动的感情。第二次是特瑞斯拒绝卡罗尔后,她坐在朋友的车里,看着卡罗尔走在街上,“你看,我终于学会了拒绝你,可是为什么会这么难过?你在想什么?也会这样难过吗?”
其实,这部电影很像御姐一手将小朋友调教好的养成记。所谓御姐,并不只是有钱有颜,最重要的是她们思想独立,有自己站立在这个世界的坐标系和判断事物价值的独特方式,她们还聪明,恰到好处的世故和足够多的安全感,跟她们在一起会感到舒服。有人说,跟年纪大的人相处,像是在挖掘一座宝藏,每天都有新的惊喜,总有很多你不知道的事;跟年纪小的人相处,像种花,可以看到她们每一天的变化。卡罗尔跟特瑞斯就是这样的搭配,真是令人欢喜。
还有,这是一部每一帧都令人想落泪的电影,可是它又克制到让你觉得眼泪似乎不是那么优雅,而我,真的被这种让人哭不出来的浪漫给深深打动。
[img=1:C]微信公众号:badcode
可能几百年不说话,也可能话痨。[/img]
这是一篇迟到了3个多月的观后感。即使那时所能看到的还只是枪版渣画质,《卡罗尔》一样轻松从第一个跟拍的长镜头就击中我。当它描绘了爱,就有爱。接下来的三个月,等着蓝光版的同时一遍遍循环原声,看完了原著小说。
它是会被一直放在心里惦记着的电影,是一小块柔软。就好像一月初的时候有天一个人走在热带午后的阳光下,《Opening》的提琴声又响起,瞬间清凉静默,揪心感堪比《Summer Palace》里的《Solo Por Tu Amor》,都是面对时屏息凝气的河流。听着它,只想要弯腰蹲下。
若说它是部缠绵悱恻的电影,不如说无疑更近乎艺术上的灵感。它伸出温柔的手揪住你的心,用嘴唇碰着耳垂低语,它与你无条件的亲密。
这是一个旁若无人的故事,其他角色都被淡去(即使在原著小说中有着完整的表述),只有两个人的深深凝视。看了几遍,始终觉得存在着一个 什么 ,却没法说出。直到想起村上春树的《斯普特尼克恋人》才明白。
在《卡罗尔》里,作为观众的我一直为“自己“的缺失而稍觉遗憾。这段感情太完美,细节和角色都丰富到不再有可补充的想象空间,甚至容不下观众自然而然的代入感。应该存在一个第三人的视角,亲密又观望这两人的视角,让由眼神和温度组成的密度爱情有梯可攀,成为固体的现实效用。
斯普特尼克,村上君说它在俄语里是 traveling companion 的意思——‘旅伴’。孤独的炽烈的卫星旅伴。同样讲年轻女孩对年长女人的爱恋,暮色中摇曳着及膝白裙走下石阶的敏,与目光如炬优雅魅惑的卡罗尔。苦于写不出作品的写作者堇与不会拍人像的摄影师特芮丝。相同的旅行经历与相似的错失。村上的清爽与托德·海因斯的粘稠,长茎植物与阴雨天气。
《斯普特尼克恋人》中第一人称的“我”,正是这样的存在。对堇怀有深深的爱恋,确认因为她而扩展了所属世界的外沿,被她所信赖,却不对作为男性的“我”怀有兴趣。“我”是堇与敏感情的唯一知情者,甚至比两人还要知晓其中含蕴。(当然也是小说心理描述的主要依托者)。因为有“我”这一完整的形象,《斯普特尼克恋人》得以从另一较为冷静视角叙事,“我”是读者进入作品时的栖身之所,也是所能到达的最近距离。于是那时看完小说我说:“觉得自己偶尔是堇,更多时候是’我’,但从来不是敏。”
也是因为有了《斯普特尼克恋人》文字的准确描写,才可以将《卡罗尔》中的情感成字成句。甚至,这样的对比较电影改编与原著小说的对比更加有趣。因为它不仅仅是情节对照,更多是情绪共鸣。
初次约会吃饭,特芮丝要服务生照着卡罗尔点的餐给自己也上一份。堇也是如此,学敏的样子拿起酒杯小心翼翼啜一口葡萄酒。
卡罗尔对特芮丝说:“What a strange girl you are, flung out of space. ”堇对敏说:“这以前,我一次也没考虑过要成为自己以外的什么人。但现在有时很想成为你那样的人。”
《斯普特尼克恋人》里讲“我”质疑堇对敏的感情:
我开口道:“你在敏身上感觉到的是性欲这点不会有错?” “百分之百没错。”堇说,“一到她面前,耳朵里的骨头就咔咔作响,像用薄贝壳做的风铃。而且有一股想被她紧紧搂抱的欲望,想把一切都交付给她。如果说这不是性欲的话, 我血管里流淌的就是番茄汁。”
以此再看特芮丝的从不拒绝和抿着嘴的坚定神情,便总在幻想她此时耳朵里的声音。
还有一处,原著里写到特芮丝意识到自己的变化。变胖了一些,但是脸庞越来越小,,她感到高兴,为自己越来越成熟。村上的写法是:
“最近的你,一次见面一个样,越来越难认了。”我说。
“正赶上那种时期。”她用吸管吸着果汁,像说与己无关的事。
女王自不必说,每一个细节都性感得让人动弹不得(尤其是对妹子们来说),鲁妮·玛拉的表演也有着文学性的优美。在副驾偷偷打量卡罗尔时眼中的惊喜,对坐要给卡罗尔拍照时边撒娇边不自觉的一跃,卡罗尔走后下车奔向路边呕吐。还有每一个痴迷的眼神。
不得不说到两个人的床戏,看时全部的观感都是感动。唯如此,这段感情才是完整的。村上这样写堇与敏:
敏不知如何回答,正犹豫着,堇已伸出手,握住她的手。手心也有汗感。手暖融融软乎乎的。随后,堇双手拢住敏的背,乳房贴在敏腹部偏上一点儿的位置,脸颊放在敏双乳之间。两人长时间以如此姿势躺着。这工夫,堇的身体开始微微颤抖。敏以为堇要哭,但似乎哭不出。她把手绕到堇肩上,搂近一些。还是孩子,敏心想,又孤单又害怕,渴望别人的温存,像紧紧趴在松树枝上的小猫一样。
堇把身体往上蹭了蹭,鼻尖触在敏脖颈上。两人乳房相碰。敏咽下口腔里的唾液。堇的手在她背部摸来摸去。
“喜欢你。”堇小声细气地说。
“我也喜欢你的。”敏说。此外她不晓得怎么说好,而且这也是实话。
与卡罗尔所说的“My angel, flung out of space. ”功效完全一致。
村上容易写情感的退潮或者说是冷静,每当这时,故事就退居到迫切想同自己的汹涌欲望单独相守的“我”。在对琐事的不厌其烦的细致描写中完成自我建设。即使有时结论仍是“我是多么的需要堇。”这在《卡罗尔》里面被表现得很淡。托德·海因斯的情感退潮,是隔着玻璃、镜头、人群、画外等介质,脱离空间存在感的疏离。此时的特芮丝更像经过了一场高烧后的清醒。
不管是在新的一天起身归拢这颗以孤独为养料运转的行星的残片,还是特芮丝脚步踉跄的穿过人群走向卡罗尔。就算哪里也抵达不了,凝视也可以终身陪伴。
等不到电影,只好先拿小说来解渴。
原著是以作者Patricia Highsmith自己的故事为原型的,她在快30岁时,在纽约Bloomingdale's百货公司的玩具区遇见了一位已婚妇女,并爱上了她。
原著虽是第三人称,但基本是以Therese的视角写的,内心描写很丰富,用词很美,不算艰涩,读起来很流畅,很抓人,不忍释卷。
读的过程中不断带入Cate和Rooney,因此十分有画面感,完全被带入到故事之中,许多描写太细腻,太真实,跟着Therese一起忐忑,也跟着她一起迷醉在Carol的冷漠与温情之间,这些文字,慢慢地在我脑海中拍成电影。
原著中Therese是一个stage designer,但在改编剧本中变成了一个photographer,其实我觉得这样反而更易于表达她作为Carol的暗恋者的角度。
Rooney和Cate绝对是Therese和Carol的不二人选,这点你看了小说就会明白这次的选角有多么完美。
书我还在读,读了大半了,书摘会陆续更,每晚都又期待故事,又不忍读完它,到了该睡的时间还是不情愿放下,不断安慰自己说“好东西值得等待”,才心不甘情不愿地关灯睡下。
即使读原著知道故事的始末,依然不会“剧透”电影,因为我真正期待的不只是故事本身,而是Rooney和Cate的演绎,服装,场景,Todd Haynes怎么营造1950s纽约的复古模样,以及代入感十足的黑胶唱片老歌,而这些都是文字之外的全新创造。
总之,北美上映都要到12月18,有资源的时候估计已经是2016了,只能先来感受原著了。
----
附上非官方的原声,听吧,你会沉醉的。
http://pan.baidu.com/s/1bnfMneB
----
以下为书摘,按阅读先后顺序
"How do you like it pronounced? Therese?"
"Yes. The way you do," she answered. Carol pronounced her name the French way, Terez. She was used to a dozen variations, and sometimes she herself pronounced it differently. She liked the way Carol pronounced it, and she liked her lips saying it. An indefinite longing, that she had been only vaguely conscious of at times before, became now a recognizable wish. It was so absurd, so embarrassing a desire, that
Therese thrust it from her mind.
----
Therese was propped on one elbow. The milk was so hot, she could barely let her lip touch it at first. The tiny sips spread inside her mouth and released a melange of organic flavors. The milk seemed to taste of bone and blood, of warm flesh, or hair, saltless as chalk yet alive as a growing embryo.
----
"There's a train in about four minutes," Carol said.
Therese blurted suddenly, "Will I see you again?"
Carol only smiled at her, a little reproachfully, as the window between them rose up. "Au revoir," she said.
Of course, of course, she would see her again, Therese thought. An idiotic question!
The car backed fast and turned away into the darkness.
----
But there was not a moment when she did not see Carol in her mind, and all she saw, she seemed to see through Carol. That evening, the dark flat streets of New York, the tomorrow of work, the milk bottle dropped and broken in her sink, became unimportant. She flung herself on her-bed and drew a line with a pencil on a piece of paper. And another line, carefully, and another. A world was born around her, like a bright forest with a million shimmering leaves.
----
They stopped for a red light, and Carol rolled the window up. Carol looked at her, as if really seeing her for the first time that evening, and under her eyes that went from her face to her hands in her lap, Therese felt like a puppy Carol had bought at a roadside kennel, that Carol had just remembered was riding beside her.
----
Happiness was a little like flying, she thought, like being a kite. It depended on how much one let the string out.
----
"Are you busy? If you are, I'll leave."
"No. Sit down. I'm not doing anything—except reading a play."
"What play?"
"A play I have to do sets for." She realized suddenly she had never mentioned stage designing to Carol.
"Sets for?"
"Yes—I'm a stage designer." She took Carol's coat.
Carol smiled astonishedly. "Why the hell didn't you tell me?" she asked quietly. "How many other rabbits are you going to pull out of your hat?"
----
And perhaps she was in love with Carol, too. It put Therese on guard with her. It created a tacit rivalry that gave her a curious exhilaration, a sense of certain superiority over Abby—emotions that Therese had never known before, never dared to dream of, emotions consequently revolutionary in themselves. So their lunching together in the restaurant became nearly as important as the meeting with Carol.
------
• Carol glanced at her. "You imagine," she said, and the pleasant vibration of her voice faded into silence again.
The page she had written last night, Therese thought, had nothing to do with this Carol, was not addressed to her. I feel I am in love with you, she had written, and it should be spring. I want the sun throbbing on my head like chords of music. I think of a sun like Beethoven, a wind like Debussy, and birdcalls like Stravinsky. But the tempo is all mine.
• As if she wouldn't turn down a job on a ballet set to go away with Carol—to go with her through country she had
never seen before, over rivers and mountains, not knowing where they would be when night came.
• Behind Carol, an airport searchlight made a pale sweep in the night, and disappeared. Carol's voice seemed to
linger in the darkness. In its richer, happier tone, Therese could hear the depths within her where she loved Rindy, deeper than she would probably ever love anyone else.
• It shook Therese in the profoundest part of her where no words were, no easy words like death or dying or killing. Those words were somehow future, and this was present. An inarticulate anxiety, a desire to know, know anything, for certain, had jammed itself in her throat so for a moment she felt she could hardly breathe. Do you think, do you think, it began. Do you think both of us will die violently someday, be suddenly shut off? But even that question wasn't definite
enough. Perhaps it was a statement after all: I don't want to die yet without knowing you. Do you feel the same way, Carol? She could have uttered the last question, but she could not have said all that went before it.
• "I suppose the first thing is not to be afraid." Therese turned and saw Carol's smile. "You're smiling because you think I am afraid, I suppose."
"You're about as weak as this
match." Carol held it burning for a moment after she lighted her cigarette. "But given the right conditions, you could burn a house down, couldn't you?"
"Or a city."
"But you're even afraid to take a little trip with me. You're afraid because you think you haven't got enough money."
"That's not it."
"You've got some very strange values, Therese. I asked you to go with me, because it would give me pleasure to have you. I should think it'd be good for
you, too, and good for your work. But you've got to spoil it by a silly pride about money. Like that handbag you gave me. Out of all proportion. Why don't you take it back, if you need the money? I don't need the handbag. It gave you pleasure to give it to me, I suppose. It's the same thing, you see. Only I make sense and you don't." Carol walked by her and turned to her again, poised with one foot forward and her head up, the short blond hair as unobtrusive as a statue's hair. "Well, do you think it's funny?"
• Carol went into the green room, and stayed there while it played. Therese stood by the door of her room, listening, smiling.
... I'll never regret... the years I'm giving... They're easy to give, when you're in love... I'm happy to do whatever I do for you...
That was her song. That was everything she felt about Carol.
• Was life, were human relations like this always, Therese wondered. Never solid ground underfoot. Always like gravel, a little yielding, noisy so the whole world could hear, so one always listened, too, for the loud, harsh step of the intruder's foot.
• Therese still felt the effects of what she had drunk, the tingling of the champagne that drew her painfully close to Carol. If she simply asked, she thought, Carol would let her sleep tonight in the same bed with her. She wanted more than that, to kiss her, to feel their bodies next to each other's. Therese thought of the two girls she had seen in the Palermo bar. They did that, she knew, and more. And would Carol suddenly thrust her away in disgust, if she merely wanted to hold her in her arms? And would whatever affection Carol now had for her vanish in that instant? A vision of Carol's cold rebuff swept her courage clean away. It crept back humbly in the question, couldn't she ask simply to sleep in the same bed with her?
• She rode up in an elevator and she was acutely conscious of Carol beside her, as if she dreamed a dream in which Carol was the subject and the only figure. In the room, she lifted her suitcase from the floor to a chair, unlatched it and left it, and stood by the writing table, watching Carol. As if her emotions had been in abeyance all the past hours, or days, they flooded her now as she watched Carol opening her suitcase, taking out, as she always did first, the leather kit that contained her toilet articles, dropping it onto the bed. She looked at Carol's hands, at the lock of hair that fell over the scarf tied around her head, at the scratch she had gotten days ago across the toe of her moccasin.
"What're you standing there for?" Carol asked. "Get to bed, sleepyhead."
"Carol, I love you."
Carol straightened up. Therese stared at her with intense, sleepy eyes.
• Then Carol finished taking her pajamas from the suitcase and pulled the lid down. She came to Therese and put her hands on her shoulders. She squeezed her shoulders hard, as if she were exacting a promise from her, or perhaps searching her to see if what she had said were real. Then she kissed Therese on the lips, as if they had kissed a thousand times before.
"Don't you know I love you?" Carol said.
• Then Therese set the container of milk on the floor and looked at Carol who was sleeping already, on her stomach, with one arm flung up as she always went to sleep. Therese pulled out the light. Then Carol slipped her arm under her neck, and all the length of their bodies touched, fitting as if something had prearranged it. Happiness was like a green vine spreading through her, stretching fine tendrils, bearing flowers through her flesh. She had a vision of a pale-white flower, shimmering as if seen in darkness, or through water. Why did people talk of heaven, she wondered.
• "Go to sleep," Carol said.
Therese hoped she would not. But when she felt Carol's hand move on her shoulder, she knew she had been asleep. It was dawn now. Carol's fingers tightened in her hair, Carol kissed her on the lips, and pleasure leaped in Therese again as if it were only a continuation of the moment when Carol had slipped her arm under her neck last night. I love you, Therese wanted to say again, and then the words were erased by the tingling and terrifying pleasure that spread in waves from Carol's lips over her neck, her shoulders, that rushed suddenly, the length of her body. Her arms were tight around Carol, and she was conscious of Carol and
nothing else, of Carol's hand that slid along her ribs, Carol's hair that brushed her bare breasts, and then her body too seemed to vanish in widening circles that leaped further and further, beyond where thought could follow. While a thousand memories and moments, words, the first darling, the second time Carol had met her at the store, a thousand memories of Carol's face, her voice, moments of anger and laughter flashed like the tail of a comet across her brain. And now it was pale-blue distance and space, an expanding space in which she took flight suddenly like a long arrow. The arrow seemed to cross an impossibly wide abyss with ease, seemed to arc on and on in space, and not quite to stop. Then she realized that she still clung to Carol, that she trembled violently, and the arrow was herself. She saw Carol's pale hair across her eyes, and now Carol's head was close against hers. And she did not have to ask if this were right, no one had to tell her, because this could not have been more right or perfect.
• "Go to sleep," Carol said.
Therese hoped she would not. But when she felt Carol's hand move on her shoulder, she knew she had been asleep. It was dawn now. Carol's fingers tightened in her hair, Carol kissed her on the lips, and pleasure leaped in Therese again as if it were only a continuation of the moment when Carol had slipped her arm under her neck last night. I love you, Therese wanted to say again, and then the words were erased by the tingling and terrifying pleasure that spread in waves from Carol's lips over her neck, her shoulders, that rushed suddenly, the length of her body. Her arms were tight around Carol, and she was conscious of Carol and nothing else, of Carol's hand that slid along her ribs, Carol's hair that brushed her bare breasts, and then her body too seemed to vanish in widening circles that leaped further and further, beyond where thought could follow. While a thousand memories and moments, words, the first darling, the second time Carol had met her at the store, a thousand memories of Carol's face, her voice, moments of anger and laughter flashed like the tail of a comet across her brain. And now it was pale-blue distance and space, an expanding space in which she took flight suddenly like a long arrow. The arrow seemed to cross an impossibly wide abyss with ease, seemed to arc on and on in space, and not quite to stop. Then she realized that she still clung to Carol, that she trembled violently, and the arrow was herself. She saw Carol's pale hair across her eyes, and now Carol's head was close against hers. And she did not have to ask if this were right, no one had to tell her, because this could not have been more right or perfect. She held Carol tighter against her, and felt Carol's mouth on her own smiling mouth. Therese lay still, looking at her at Carol's face only inches away from her, the gray eyes calm as she had never seen them, as if they retained some of the space she had just emerged from. And it seemed strange that it was still Carol's face, with the freckles, the bending blond eyebrow that she knew, the mouth now as calm as her eyes, as Therese had seen it many times before.
• "My angel," Carol said. "Flung out of space."
Therese looked up at the corners of the room that were much brighter now, at the bureau with the bulging front and the shield-shaped drawer pulls, at the frameless mirror with the beveled edge, at the green patterned curtains that hung straight at the windows, and the two gray tips of buildings that showed just above the sill. She would remember every detail of this room forever.
"What town is this?" she asked.
Carol laughed. "This? This is Waterloo." She reached for a cigarette.
"Isn't that awful."
Smiling, Therese raised up on her elbow. Carol put a cigarette between her lips. "There's a couple of Waterloos in every state," Therese said.
• Therese threw the newspapers on the bed and came to her. Carol seized her suddenly in her arms. They stood holding each other as if they would never separate. Therese shuddered, and there were tears in her eyes. It was hard to find words, locked in Carol's arms, closer than kissing.
"Why did you wait so long?" Therese asked.
"Because—I thought there wouldn't be a second time, that I wouldn't want it. But that's not true."
Therese thought of Abby, and it was like a slim shaft of bitterness dropping between them. Carol released her.
"And there was something else—to have you around reminding me, knowing you and knowing it would be so easy. I'm sorry. It wasn't fair to you."
Therese set her teeth hard. She watched Carol walk slowly away across the room, watched the space widen, and remembered the first time she had seen her walk so slowly away in the department store, Therese had thought forever. Carol had loved Abby, too, and she reproached herself for it. As Carol would one day for loving her, Therese wondered? Therese understood now why the December and January weeks had been made up of anger and indecision, reprimands alternating with indulgences. But she understood now that whatever Carol said in words, there were no barriers and no indecisions now. There was no Abby, either, after this morning, whatever had happened between Carol and Abby before.
• "You've made me so happy ever since I've known you,"
Therese said.
"I don't think you can judge."
"I can judge this morning."
Carol did not answer. Only the rasp of the door lock answered her. Carol had locked the door and they were alone. Therese came toward her, straight into her arms.
"I love you," Therese said, just to hear the words. "I love you, I love you."
• She looked at Therese, and at last Therese saw a smile rising slowly in her eyes, bringing Carol with it. "I
mean responsibilities in the world that other people live in and that might not be yours. Just now it isn't, and that's why in New York I was exactly the wrong person for you to know—because I indulge you and keep you from growing up."
"Why don't you stop?"
"I'll try. The trouble is, I like to indulge you."
"You're exactly the right person for me to know," Therese said.
"Am I?"
On the street, Therese said, "I don't suppose Harge would like it if he knew we were away on a trip, either, would he?"
"He's not going to know about it."
"Do you still want to go to Washington?"
"Absolutely, if you've got the time. Can you stay away all of February?"
Therese nodded.
• "Do you mean that about not writing to him? That's your decision?" Carol asked.
• "Yes."
Therese watched Carol knock the water out of her toothbrush, and turn from the basin, blotting her face with a towel. Nothing about Richard mattered so much to her as the way Carol blotted her face with a towel.
"Let's say no more," Carol said.
She knew Carol would say no more. She knew Carol had been pushing her toward him, until this moment. Now it seemed it might all have been for this moment as Carol turned and walked toward her and her heart took a giant's step forward.
• It was an evening Therese would never forget, and unlike most such evenings, this one registered as unforgettable while it still lived. It was a matter of the bag of popcorn they shared, the circus, and the kiss Carol gave her back of some booth in the performers' tent. It was a matter of that particular enchantment that came from Carol—though Carol took their good times so for granted—seemed to work on all the world around them, a matter of everything going perfectly, without disappointments or hitches, going just as they wished it to.
• "What's going to happen when we get back to New York? It can't be the same, can it?"
"Yes," Carol said. "Till you get tired of me."
Therese laughed. She heard the soft snap of Carol's scarf end in the wind.
"We might not be living together, but it'll be the same."
They couldn't live together with Rindy, Therese knew. It was useless to dream of it. But it was more than enough that Carol promised in words it would be the same.
• Carol picked up her wine glass and said, "Chateau Neuf-du-Pape in Nebraska. What'll we drink to?"
"Us."
It was something like the morning in Waterloo, Therese thought, a time too absolute and flawless to seem real, though it was real, not merely props in a play—their brandy glasses on the mantel, the row of deers' horns above, Carol's cigarette lighter, the fire itself. But at moments she felt like an actor, remembered only now and then her identity with a sense of surprise, as if she had been playing in these last days the part of someone else, someone
fabulously and excessively lucky. She looked up at the fir branches fixed in the rafters, at the man and woman talking inaudibly together at a table against the wall, at the man alone at his table, smoking his cigarette slowly. She thought of the man sitting with the newspaper in the hotel in Waterloo. Didn't he have the same colorless eyes and the long creases on either side of his mouth? Or was it only that this moment of consciousness was so much the same as that other moment?
They spent the night in Lusk, ninety miles away.
• Carol wanted her with her, and whatever happened they would meet it without running. How was it possible to be afraid and in love, Therese thought. The two things did not go together.
How was it possible to be afraid, when the two of them grew stronger together every day? And every night. Every night was different, and every morning. Together they possessed a miracle.
• But there were other days when they drove out into the mountains alone, taking any road they saw. Once they came upon a little town they liked and spent the night there, without pajamas or toothbrushes, without past or future, and the night became another of those islands in time, suspended somewhere in the heart or in the memory, intact and absolute.
• Carol went into the bathroom arid turned on the shower.
Therese came in after her. "I thought I was using this John."
"I'm using it, but I'll let you come in."
"Oh, thanks." Therese took off her robe as Carol did.
"Well?" Carol said.
"Well?" Therese stepped under the shower.
"Of all the nerve." Carol got under it, too, and twisted Therese's arm behind her, but Therese only giggled.
Therese wanted to embrace her, kiss her, but her free arm reached out convulsively and dragged Carol's head
against her, under the stream of water, and there was the horrible sound of a foot slipping.
"Stop it, we'll fall!" Carol shouted. "For Christ's sake, can't two people take a shower in peace?"
• Carol wanted to know everything she had done, how the roads were, and whether she had on the yellow pajamas or the blue ones. "I'll have a hard time getting to sleep tonight without you."
"Yes." Immediately, out of nowhere, Therese felt tears pressing behind her eyes.
"Can't you say anything but yes?"
"I love you.
• "Carol does?" Dutch said, turning to her as he polished a lass.
Then a strange resentment rose in Therese because he had said her name, and she made a resolution not to speak of Carol again at all, not to anyone in the city.
• She wrote to Carol late that night.
The news is wonderful. I celebrated with a single daiquiri at the Warrior. Not that I am conservative, but did you know that one drink has the kick of three when you are alone?... I love this town because it all reminds me of you. I know you don't like it any more than any other town, but that isn't the point. I mean you are here as much as I can bear you to be, not being here...
• In the library, she looked at books with photographs of Europe in
them, marble fountains in Sicily, ruins of Greece in sunlight, and she wondered if she and Carol would really ever go there. There was still so much they had not done. There was the first voyage across the Atlantic. There were simply the mornings, mornings anywhere, when she could lift her head from a pillow and see Carol's face, and know that the day was theirs and that nothing would separate them.
• They were happy weeks—you knew it more than I did. Though all we have known is only a beginning. I meant to try to tell you in this letter that you don't even know the rest and perhaps you never will and are not supposed to—meaning destined to. We never fought, never came back knowing there was nothing else we wanted in heaven or hell but to be together. Did you ever care for me that much, I don't know. But that is all part of it and all we have known is only a beginning. And it has been such a short time.
• You say you love me however I am and when I curse. I say I love you always, the person you are and the person you will become. I would say it in a court if it would mean anything to those people or possibly change anything, because those are not the words I am afraid of.
• And she remembered Carol saying, I like to see you walking. When I see you from a distance, I feel you're walking on the palm of my hand and you're about five inches high. She could hear Carol's soft voice under the babble of the wind, and she grew tense, with bitterness and fear. She walked faster, ran a few steps, as if she could run out of that morass of love and hate and resentment in which her mind suddenly floundered.
• Something Carol had said once came suddenly to her mind: every adult has secrets. Said as casually as Carol said everything, stamped as indelibly in her brain as the address she had written on the sales slip in Frankenberg's. She had an impulse to tell Dannie the rest, about the picture in the library, the picture in
the school. And about the Carol who was not a picture, but a woman with a child and a husband, with freckles on her hands and a habit of cursing, of growing melancholy at unexpected moments, with a bad habit of indulging her will. A woman who had endured much more in New York than she had in South Dakota. She looked at Dannie's eyes, at his chin with the faint cleft. She knew that up to now she had been under a spell that prevented her from seeing anyone in the world but Carol.
• Once that had been impossible, and had been what she wanted most in the world. To live with her and share everything with her, summer and winter, to walk and read together, to travel together. And she remembered the days of resenting Carol, when she had imagined Carol asking her this, and herself answering no.
"Would you?" Carol looked at her.
Therese felt she balanced on a thin edge. The resentment was gone now.
Nothing but the decision remained now, a thin line suspended in the air, with nothing on either side to push her or pull her. But on the one side, Carol, and on the other an empty question mark. On the one side, Carol, and it would be different now, because they were both different. It would be a world as unknown as the world just past had been when she first entered it. Only now, there were no obstacles. Therese thought of Carol's perfume that today meant nothing. A blank to be filled in, Carol would say.
• The lights were not bright, and she did not see her at first, half hidden in the shadow against the far wall, facing her. Nor did Carol see her. A man sat opposite her, Therese did not know who. Carol raised her hand slowly and brushed her hair back, once on either side, and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love. Oh, in a different way now, because she was a different person, and it was like meeting Carol all over again, but it was still Carol and no one else. It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell. Therese waited. Then as she was
about to go to her Carol saw her, seemed to stare at her incredulously a moment while Therese watched the slow smile growing, before her arm lifted suddenly, her hand waved a quick, eager greeting that Therese had never seen before. Therese walked toward her.
The End
-----已读完-------
重看依然感动,并发现了更多细节。当结尾,特芮丝终于决定走向卡罗尔的时候,真是美好又激动哇
★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
“我离婚了,孩子归对方,在麦迪逊大道有个大房间,你想来住吗”隔五秒“我爱你” #什么妹子把不到
Carol是渣攻,这眼神我见识过。一旦爱上这人你就没整没治没救了,这事我经历过。
凯特女王的I-wanna-fuck-you eyes 和鲁尼的fuck-me eyes 让这部霸总爱情故事各种赏心悦目,平地升仙。
直男恋爱教学篇 送相机请附带胶卷好嘛
已经闻到拿奖的气息了
只因心中有对方,黑夜无需再漫长。总有一天,你会在宇宙洪荒和滚滚红尘中驻足凝眸,转身看见你的天使。她眉眼弯弯,言笑晏晏,似乎看穿了命运和羁绊,只为了这一刹那的相逢。唯有星辰不负夜,愿你遇见,你生命中的温柔。
不用再加“同性”的限定语,这就是今年最美的爱情电影。托德·海因斯的镜头从头到尾都是两位女性,只是两位女性,其他一切仿佛都不重要了。这是最轻小的格局,也是最汹涌的情欲,光对视就能让人落泪,因为你知道这世界上有两人为了对方,此身愿作万矢的。
戛纳主竞赛单元目前最好看的一部。Todd Haynes这种奔着Sirk路子拍的Melodrma都挺棒的,反倒特别反感他的那些摇滚题材。Cate Blanchett太厉害了,感觉只要光听她的声音,直的弯的全世界都会被她收走。PS,补看了一遍,发觉其实上次每个场景都没落下,就是脑子一片苍茫,太他妈可怕了。
比《断背山》差了五个《阿黛尔的生活》,就酱紫
就没人同情她老公么?此男痴汉一个。爱的不比二位女主浅,却成了这场胜却人间无数颜值的恋情的炮灰。我们只是看见了当时的自己而已。
鲁尼玛拉是个被低估的演员,她拥有如此美的样貌,不需要这样好的演技,有这样好的演技,不需要拥有如此美的容颜。
面对爱情面对自我时作出勇敢抉择的两个女人,如化骨绵掌般温柔克制而坚定有力,这部电影亦如此。最后那段情感力量喷薄而出,完全没有抵抗力直接飙泪。
最后那段凝视,鲁妮的眼神和表情变化所展现出来的演技已经完全够资格拿奥斯卡了,更别说在整部电影里的精湛发挥。她的表演润物细无声,完全不着痕迹 。就像高手出招,看似轻巧,但其实招招毙命,没有一拳是打歪的。她真是棒的匪夷所思
结尾的时候我窒息了。凯特的表演令我略有失望,可鲁尼·玛拉...凡是深深暗恋过一次的人,都能在她的表演中得到共鸣。克制,复古,充满感情。我被感动和幸福久久地包围。
NYFF现场,有天朝迷妹提问道Cate你知不知道全中国的妹子都为你弯了,全场哄笑。当然啦这个提问meant to be a joke,出乎我意料的是Cate居然依旧认真的回答了下去。她认为,导演以一个局外人的角度完美描绘了一个fall in love的故事才让Carol这个角色给观众带来爱情的感觉。
请一定去看这部电影。它满足了我对御姐的所有幻想。我跪着出了电影院。
讲一个女人向另一个女人学习如何驾驭女性美,女性魅力、穿着品味和言行举止都不是与生俱来的,而卡罗尔开启了一个懵懂少女的这扇门,少女爱上的就像理想中的自己。眼神流转,拍的情绪上张力十足,两人的感情关系里充满着不确定感,前后两人的视角上也有一个微妙的转换,并没有被震撼到。★★★★
其实就是个很普通的爱情故事。很美,但美不代表好,凯特角色的缺乏脆弱性让她有些失真,鲁妮玛拉传情传神。演员,氛围,摄影,音乐,美术是加分项,但绝不是决定因素。它们只是定义了影片的基调。