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【题外话】 有的人资质本不差,受过不错的教育,有明辨是非的能力,志向远大,鉴赏力优于常人,经常思考人生,但是总把生活过得一团糟,当他们到了可以回忆人生的时候,往往感叹“我怎么就把生活过成了这个样子呢?我明明可以过不一样的人生,或许是我运气不好,或许是我生错了年代。” 维拉身处的时代很糟糕,经济萧条,物资匮乏,就连天气都经常很阴沉。她是社会底层的一个平凡的老太婆,估计也没受过啥教育,工作就是给人打扫清洁卫生。她特别勤快,身材矮小矫健,一天到晚忙忙碌碌,除了工作外就是缝缝补补,影片的前半段,她就是在不停的忙活这个忙活那个。这到也没什么,这种勤劳的妇女,我们随处可见,我们的姥姥、老妈、隔壁的阿姨,都是这种典型。维拉不仅勤劳,心肠也是极好的,周围的人由于各种原因,过得都很艰辛,她习惯性的照顾着他们,像个火把似的走到哪里照亮哪里。这个也没什么,这种善良,我们见得也不少。 维拉最让人喜欢的是勤劳善良之上的生活态度。 她那个矮小的身体里仿佛有无穷的力量,干活干得又快又好,从来不抱怨,总是生机勃勃,小眼睛里总是闪耀着光芒,在那种世道,都能把家庭经营得温馨美好。我见过很多中年妇人,边忙碌边抱怨,明明是勤劳善良的人,但总是一副苦大仇深的样子,或许叫人敬佩,但不愿亲近。她们像老黄牛一样,压抑又悲情,别说我们的中小学课本里经常出现劳苦式受难式的母亲形象,那个在生活中太常见了,而我们的文化往往倾向于欢迎歌颂拔高这种将苦难当崇高的悲壮形象,仿佛不如此,便不能显现母性的伟大。其实谁都知道,我们需要的不是苦难,而是苦难之中积极向上的健康力量。身在泥淖当中却能开出花,散发香气,触及旁人,这才是精神力量的伟大之处。 当一个人身处底层,每天湮没在无穷无尽的繁琐之事当中,还能尽力去帮助别人的时候,这人是完全配得上伟大二字的。 看过好多伊梅尔达斯汤顿的片子,她最擅长出演那种穷乡僻壤没见过世面又特别八卦的小老太太了。
The morality behind this movie is related to the problem of having unwanted babies. In fact, the United States has the highest rates of births to teenage mothers of all industrial nations, and the United Kingdom ranks the 2nd.
As far as I observe, some of the same people who complain about women delaying childbearing while they wallow in unbridled sexual consumerism, are also among the loudest critics of abortion. Some these concern stems from a disguised critique of feminism, which enables women to explore a healthy and safer sexuality. Efforts to stop unwanted motherhood have included, for example, increasing restrictions on access to birth control and even birth control information and restrictions on abortion, including parental consent and waiting periods.
Take, the statistics on rates of teenage motherhood for example. In the mid-1950s, 27 percent of all girls had sexual intercourse by age eighteen; in 1988, 56 percent of girls and 73 percent of boys had sexual intercourse by age eighteen. In 1991, the rate of adolescent childbearing-births to teen mothers per 1,000 girls — was 62.1, the highest rate since 1971, which was the year before abortion was legalized. This accounts for 9 percent of all births in the nation. Sixty-six percent of these young women were unmarried, compared with 1960, when only 15 percent were unmarried.
Such numbers can be "read" in several ways. For some, such numbers illustrate a calamitous increase in teen motherhood, attributable to wanton teenage sexuality and rampant immorality, an erosion of respect for the institution of marriage, and the growing crisis of fatherlessness. But for others, such numbers illustrate the erosion of access to adequate birth control information, the steady attacks on women's right to choose that restrict women's access to abortion and other means of birth control, and the increased freedom of young people from their parents' insistence on "shotgun weddings."
On these questions, the research is unanimous: Restricting access to information about birth control, access to birth control, and access to abortion has no bearing on rates of sexual activity. In fact, virtually all studies of the effect of sex education indicate a decrease in rates of sexual activity, greater sexual selectivity, and higher rates of safer sex practices. Young people will continue to become sexually active in their mid teens, whether or not they have access to birth control or information about it. In fact, restricting access is the surest way to encourage unwanted pregnancy. No wonder the highest rates of teen pregnancy occurred before abortion was legal.
The problem of “having unwanted babies” is also a way to blame women for men's irresponsibility. Politically, we are saying to young women that if they are going to dance (become sexually active), they will have to pay the piper (bear the consequences of unwanted pregnancies). But if, as we also know, it takes two to tango, perhaps the solution to the crisis of young motherhood lies in both increasing the abilities of these young women to become responsible (adequate health care, birth control information, and access to birth control) and in fostering a more responsible young manhood. In fact, casting the crisis as "having unwanted babies" masks another serious problem — girls' sexual victimization by men whose predatory sexual behavior goes unnoticed when the problem is cast in this way.
According to the U.S. Department of Justice, over half (54 percent) the women raped in 2000 (a typical year) were juveniles under eighteen years old, and 21.6 percent were younger than twelve. Another study found that 96 percent of those female rape victims under twelve knew their attackers. In one of five cases, their rapist was also their father. Although there is some evidence that suggests that females under eighteen are also the most likely to file false reports of rape with the police (though virtually none of these allegations ever went to trial, and all the reports were retracted in the interview stage), these false reports seem to be the result of fears of pregnancy and the hope that declaring they were raped would permit the females to get an abortion, because in many states, abortion is legal only in cases of rape or a threat to the mother's health.
With those argument mentioned above, I prefer the translation "地下观音". And it could probably explain why people like Vera Drake was guilty but insisting never do things wrong.
迈克·李果然不是我的那杯茶
AnotherYear+TheReader, shot self-contained, to the point, de-dramalizing, so the narrative and acting. Reality is never too cruel or fair.
Imelda Staunton再次让我刮目相看。
不带任何技巧悬念,全靠表演立起来,而好演员和好导演总是相互成全的。
典型英国电影~ 质朴+人物+生活……演技派 …… 对哦 粉红教授 怪说不得这么眼熟~!!!!
影片拍摄手法传统而克制,仿佛新现实主义时期的作品。妻子、母亲、罪犯,维拉·德雷克的三个角色,前两个角色她无疑做得非常好,最后一个角色,她认了罪,内心其实坚持自己只是帮助了别人——她的愧疚只是对家庭。当维拉·德雷克与同类罪犯相遇,她们都说她是用最安全的方法“犯罪”。
结合当下热点事件,真的应该让去那几个红州的法律制定者好好看看。”Ban of abortion will only ban safe abortion”, 无论是何种结果受苦受难的都是女性,而她们是社会哪怕在最残缺脆弱的战后重建时期最坚忍最无私互助的人呀。真的是视角决定一切,迈克李的电影或许很多被归为“厨房水槽Drama”,充满着琐碎的人物和生活的细节,但是他发自内心的对人对女性的关怀再朴素的制作和镜头语言都掩盖不了,是真正的大师。好久没在电影院看胶片了,今天看得鼻酸酸
1. 1950 年啊,还没有避孕套,女人只要怀了孩子就要生出来,如果不堕掉,那么养个7-8个孩子,也都是女人的事儿吧!2. 想象这100年来,人类还真是发生了翻天覆地的变化,有时候也会倒退,所以,眼光应该放远些,大概就能够活过一些苦难。3.Vera天性善良,有非常稳定、朴素、阳光的内在,就是助人。
背景是二战后物质资源紧缺的英国,资料介绍说那个时候的英国城市规划还以满足功能为主,的确,影片大部分的室内背景是逼仄的政府平民公寓,阴暗粗砺的街景,室内摆设陈旧简陋。二战物资的稀缺更包括安全套,因此就引发了太多意外怀孕的个案。vera是个再熟悉不过的温良和善的老太太形象,一生乐于助人。可矛盾就在于那时候私下堕胎是重罪。堕胎这个爆炸性问题,到了现在也没有个温和的定论。老太太的无辜表情令人通彻心扉。
▤「What is it that you do, Mrs. Drake? → I help young girls out.」「You perform abortions, don't you? → That's not what I do dear. That's what you call it. But they need help. Who else they got to turn to? No one. I help them out.」
维拉是个父不详的孩子,现在做清洁工,丈夫年幼失去父母,负责的照顾弟弟,现在在弟弟的修车厂工作,两人知足而幸福,儿子开裁缝店,女儿做工人。维拉对邻居都很热情,她还很热心帮助女性堕胎。偷尝禁果的小情侣,不想要更多孩子的中年妇女,难免意外的妓女,远离家乡来打工的黑人女孩,出轨的年轻少妇,有母亲陪同的少女。少女发生危险住院,母亲不得不说出全过程。没有亲人的小伙和维拉女儿订婚,小叔子老婆也怀孕了,庆祝之际,维拉被逮捕。另一条线是维拉雇主的女儿,富贵单纯,却在约会时被花花公子强暴,她通过伪造精神病来申请堕胎,花费100英镑。维拉不收分文,而中间商却收两尼。事发后,儿子和弟媳看不起维拉,从小饱受饥寒却没有爱的女婿却完全理解。维拉被判刑。不管堕胎是否犯法,就算堕胎不犯法,无证行医也是重罪,没什么争议。
《女人韵事》是那个时期的法国,《维拉德雷克》是那个时期的英国,前者收钱判了死刑,后者义务判了2年6个月。前者是无知的,后者是善良的。前者是家庭不幸福的,后者是家庭美满儿女双全的。前者为了金钱的诱惑,后者知道自己在干什么,认为那些女孩需要帮助。两部片子都很出色,《维拉》在另一个富人世界的对比更胜一筹,虽然穷人和富人都会因为被迫怀孕寻求帮助,但富人花了比穷人贵50倍的钱,做了精神科鉴定,就可以在法律漏洞中安全的堕胎,做手术的医生可以理所当然的拿到钱财也不用坐牢。
17/4/2006 6:00pm Cultural Centre
迈克李创造的是一个有人居住着的真实空间。哪怕戏多短,人物多次要,每一场都透露着他对世界的观察。
电影院看的。。先前看过迈克李的无忧无虑,甚是喜爱。这部影片依然是描述了一个善良的灵魂,但这个灵魂面对的却是法律与道德的冲突。导演把矛盾带来的痛苦刻画的入木三分,让人感同身受。。。
不是迈克李最好的作品,但依然是其典型风格。因为越来越喜欢他的电影,以至于我对英国工人阶层也日益爱的不行了(当然可能只是想当然):好听的口音、礼貌、助人、艰难亦相互扶持,配上每次都犹如涓涓细流的节奏,爷爷你建造的真的不是一个美好治愈的乌托邦吗?
迈克·李代表作,2004威尼斯金狮奖。1.又一部堕胎题材杰作,迈克·李拍得平实克制,细腻动人,毫无说教与煽情。2.艾美达·斯丹顿的表演入木三分,威尼斯影后实至名归。3.影片完成度极高,前半部分既刻画出了人物群像,又将当时土法堕胎始末及多种堕胎原因(意外怀孕、孩子太多养不了、出轨偷腥与性侵强暴)分散展示出来,后半部则聚焦于罪与罚。4.尽管堕胎的伦理与法律至今争议不断,但本片亦足以引发深入的思考与质疑,影片同时塑造了儿子这个花心浪荡、性侵他人而不自知自省、对母亲毫无同理心的角色,父权体系与父之法对女性的戕害昭然若揭。5.色彩搭配亦可圈可点,比如房屋内往往笼罩在暖黄色之中,壁纸装潢也古朴、素雅而温馨,但飘雪逮捕、雪夜迟归、警察局审讯、法庭判决、监狱对话等场景均为冷抑枯涩的冷调。PS:修订洗版了中字~(9.0/10)
3.5 Mike Leigh的女人韵事,Imelda Staunton极好,充满意味的群戏,但整个片子好像多了太多枝节。
经典之作。不知道那年戛纳为什么拒掉这部片,那年戛纳金棕榈是《华氏9/11》。Mike Leigh独特的电影制作方法学,帮他成功再现1950年代英国社会底层穷苦人家的人情冷暖,再在水面上投下一颗石子,引发此起彼伏的涟漪。Dick Pope的摄影也帮助营造了古早的质感。可惜Sally Hawkins那条线多少有点半途夭折的感觉。
这是看过的Mike Leigh最有剧情,最戏剧化的一部电影,与其他几部master-piece作品相比风格差异还是较大,时间设定和影片主题都有了很大的变化。然而作品依旧将目光对准中下层人民,以德行待人未必能得到肯定:良心的拷问和法令的冷漠,摧残的不只是一个Vera Drake。