小镇话语

在网上搜了下，没看到什么剧情描述，把英文的贴过来。

The Story

The opening sequence involves a flaming factory, a missing foreman, and an accused worker. Leopold Dilg (Cary Grant), a factory worker and a self-professed radical and political anarchist is falsely accused (framed on trumped-up charges of arson and murder) in a small New England town by the factory owner Andrew Holmes (Charles Dingle), for setting fire to the Holmes Woolen Mill factory and killing its guard/foreman Clyde Bracken (Tom Tyler). After being arrested, tried, and sentenced to hang, Dilg escapes from prison, goes on the run from the police, and hides out in the secluded country home of high-schoolteacher Nora Shelley (Jean Arthur). She is in the midst of preparing the old farmhouse (Sweetbrook cottage) in which she used to live for summer rental, as the fugitive with a badly injured ankle arrives. They had known each other as schoolmates:

Nora: Leopold, as far as I know, you're capable of anything, even burning a factory. You were the wildest kid that ever went to a Locester school. Dilg: You wore pigtails then. I was in love with you.

Amusing circumstances arise as she attempts to keep his presence a secret in the attic from the unsuspecting renter who arrives unexpectedly 24 hours early, due to the fault of his secretary. The tenant is a conservative, strict law-and-order, Dean of Commonwealth Law School and legal scholar, Professor Michael Lightcap (Ronald Colman), who is being considered for a Supreme Court appointment. The erudite professor hears Dilg snoring at night, and thinking it's Nora, remarks: "She must have adenoids." Nora is forced to identify Dilg as "Joseph," the gardener to the professor. In a classic scene, she drops the professor's egg breakfast on the newspaper's front page, where Dilg's picture is portrayed with the headline: "DILG ESCAPES TRAP!"

Dilg and Lightcap become engaged in long arguments about the law. Dilg maintains that the law is "a gun pointed at someone's head" rather than being created with common sense for what people actually do. Although they disagree at first, Dilg is persuasive. The professor learns Dilg's real identity, but must be careful not to hurt his chances for appointment when he defends and reopens Dilg's case.

In the end, Lightcap helps clear Dilg of his crime, defends his rights, and uncovers a frame-up, with a stirring speech in front of the courtroom to an unruly mob:

His (Dilg's) only crime was that he had courage and spoke his mind...This is your law and your finest possession. It makes you free men in a free country. Why have you come here to destroy it? If you know what's good for you, take those weapons home and burn them - and then think. Think of this country and of the law that makes it what it is. Think of a world crying for this very law. Then maybe you'll understand why you ought to guard it, and why the law has got to be the personal concern of every citizen, to uphold it for your neighbor as well as for yourself. Violence against it is one mistake. Another mistake is for any man to look upon the law as just a set of principles. Just so much language printed on fine, heavy paper. Something he recites and then leans back and takes it for granted that justice is automatically being done. Both kinds of men are equally wrong. The law must be engraved in our hearts and practiced every minute, to the letter and spirit. It can't even exist unless we're willing to go down into the dust and blood and fight a battle every day of our lives to preserve it, for our neighbor as well as ourselves.

The studio originally shot two different conclusions to the film -- one where Cary Grant gets the girl, and one where Ronald Colman wins Jean Arthur's affections. The film ends with both Dilg and Nora in Washington, to see Lightcap take his rightful place on the judicial bench. Although Nora winks at the judge, she races after Dilg for a film-ending embrace in the hallway of the US Supreme Court building.

第30届法罗岛电影节第5个放映日为大家带来主竞赛单元的《小镇话语》，下面请看场刊影评人的评价了！

Acchan

故事不止于法律探讨，看似内核涉及大陆法系和英美法系的哲理思辨，实则仍基于一个艺术-电影的史学分合路线，即好莱坞出自建构主义的艺术创作基调——相信人性和情感的古典原动力，情动必然大于辩理。 则主角必定掌握着绝对的道德倾向而决定了他的弧线走向紧紧绑定着通理的价值判断，这是好莱坞的基础，也是所谓保守的来源。全片的氛围亦在不断地强调着这一心理预期，并试图以法官的存在假装扰乱这一过程，实则是进一步反衬主角的正当性。 而观众等同暴动的人民，他们朴素着义愤填膺，但永远不忘施加暴行，那么电影是谁？前半是法官，建立规则-世界观，后半是主角，用行动造梦-生情，两者握手，抚平暴行，规则和现实吻合，观众得到安慰，人性的温良无条件地位于中心，满载淳朴的信任，矛盾也只是它的垫脚石。

子夜无人

★★★☆☆ 没关系，我兰是花瓶。

像音片碎

没记住

漩涡之外

前半段阴差阳错的喜剧笑点叠加诙谐风趣，众多人物关系的“错中错”，安排蛮有匠心，琪恩仍然精准到位地演绎可爱正义的喜剧女孩。后面节奏稍拖，三人感情表达不够精练。在结尾点明了法理与情理的关系，回到了正轨。

阿斯巴-甜

看完让人觉得那个时代的好莱坞只剩矫揉造作

一颗大柠檬

［3-］喜剧部分尚可，后面乱糟糟的就没意思了，建议是三个人一起生活没必要非得定下来