无可救药爱上你2002

 《国王的演讲》大热，詹妮弗艾莲（Jennifer Ehle）和科林费尔斯（Colin Firth）的那点旧事又被拿来炒作了。两人当年因《傲慢与偏见（1995版）》结缘，共谱恋曲，最后没能像伊丽莎白和达西那样结局圆满。不过在《国王的演讲》中两人有几分钟的对手戏。看了片花不由让人感叹，女人已老，男人却正当年。从95版《傲慢与偏见》时我就开始关注她了。她没有我心目中的伊丽莎白那样灵秀聪颖，最多是个端庄娴雅版的，黑发贴头的卷发并不适合她，她是金发的。不过她有一种说不出的气势，一下子在我的脑子里占据了一席之地。我时常关注她和她的电影。她是美国人，在英国学习戏剧，获得的嘉许和赞赏也都在英国，典型的实力派，有演技却不怎么有名气，不知有没有海伦米勒和朱迪丹奇这么好运，上了年纪还能风光一把。岁月流逝，昨天我突然在电视上认出了她，真是不可思议。
长假里向来是日夜颠倒的，午夜我窝在沙发里，在一大堆零食的包围中百无聊赖的翻着遥控器，东方影视频道在放一部叫《迷梦情缘》的片子。先吸引我停下遥控器的是大美女格温妮丝•帕特洛 Gwyneth Paltrow和大帅哥艾伦•艾克哈特 Aaron Eckhart（他的那部《感谢你抽烟》简直让我顶礼膜拜），然后就看到了詹妮弗艾莲（Jennifer Ehle）和杰瑞米•诺森 Jeremy Northam，我不由放下遥控器，给自己泡了杯茶。再看下去让我想起了《隐之书》。我真不知道这部书被拍成电影了。然后翻翻豆瓣，原来这部片子叫《无可救药爱上你》，我放在“想看”这一栏中，估计想看也是冲着派特洛去的。原来绕了一大圈子，就是这部片子呀。詹妮弗艾莲也是女主角之一。在我看来女诗人本就不是同性恋，在那个女人被压抑的年代，有才华的女人只能用特立独行的方式来与社会抗争。她和她的女友都是那个时代下不得志的人物，空有一身的才华，却得不到世俗的认同。她们只能相依为伴，惺惺相惜。只是女孩间的友谊总是充满了些占有欲。呵呵，这才是她该演的角色。
当然小说写更得好，不然不会一版再版。套用几句歌词，“想爱不能爱才最寂寞”，“将爱进行到底，温柔尚在，寂寞永生”。这样的爱情不是传说，很真实，真实得可以印成铅字，流芳后世。
但遗憾也不少，本来会是一部很成功的小成本电影，不能立刻抓住你的眼球，却也犹如一杯清茗般温馨隽永，但大牌美女帅哥的演出，让这部片子显得有点不伦不类。着实可惜了那英式田园风光。
一定要去看看《国王的演讲》，为了点八卦精神，更为了詹妮弗艾莲那几分钟的演出，看看一个女人如何在她曾爱过的男人面前魅力四射的。

以真爱为名，出轨不叫出轨叫浪漫，那个受了严重心伤而被自杀的女同志啊，人民已经把你遗忘

本来以为是一部穿越体电影，原来是一部跳跃体，在古今来回切换的画面里，有好莱坞勉为其难的英式矫情

bbc《傲慢与偏见》的女主角（我记得我曾及记得她的名字），在这里笑得好苦。。。。
格温妮斯，我爱你

没字幕的，我下载了，我看完了，我胜利了！

      电影版删减了很多人物和内容，使情节更为紧凑，但也失去了原著缓慢推进的自然感和沉稳的气质。Roland从英国人变成了美国人，原著里谨小慎微，略带些压抑的英国气质大概也随国籍的改变而失去了吧，甚至原著中的贝雅特里斯变成来了一位年轻女人，还暗暗喜欢Roland；Roland的前女友这个角色也没有出现，其实我觉得前女友这个角色还是比较重要的，书的最后Roland感受到了一种解放，不再为这些书信，为解密而执着，他找到了自己，与女友在一起的压抑贯穿始终，最后彻底地和她分手也算是构成彻底解脱的一个元素。在电影版中Maud仿佛一开始就很友好，很快地就和Roland精诚合作，两人也很快生出情愫，当然由于省略了很多人物和情节以及电影要照顾故事性的问题，Maud和Roland之间丧失了原著中两颗心慢慢靠近的感觉，也丧失了那种不似典型的爱情，但互相深度了解，同情对方的感觉。
    至于Ash和Lamotte这条线，也似乎太发展得太热烈太快了一些，两人之间以及与他人之间的冲突不似原著中那么暗流涌动。
     除去Roland（他的整体气质已经改变了），我觉得再选角上最大的败笔是饰演Lamotte的演员，原著里Lamotte是一个及其纤细，皮肤苍白，拥有极淡色金发的女人，电影版的演员不仅在外形上和原著毫无相似之处，在气质上更是不能比拟，Lamotte对这段感情应该是挣扎，畏惧，躲避的，因为她珍视自己的孤独，珍视自己女性的独立性，同样也是高傲，冷淡，高深的，在电影版里我只觉得Lamotte是个很平庸的女性，两人有点像偷情。
    Gwyneth Paltrow的外形很适合演Maud，不过电影版应该已经抛弃了原著中Maud的冷漠，高傲，疏远，怀疑的特质了吧。电影开头出现的Cropper倒是挺符合我想象中的模样，拥有极大的自我优越感，可惜戏份极少。
      在看电影前，我觉得“无可救药爱上你”这个名字太俗，也太浅，但是看完电影后我觉得电影也确实没有表现出原著“占有”的多层含义，作为一部有紧凑的剧情，迷人的主角，爱情的消遣电影，叫这个名确实挺合适。
   

去年十月读的小说，中文译本。可以想见英文原版应该很不错，毕竟仅凭作者对维多利亚时期诗歌的摹写，就应该可以打个高分了。可惜中文译本只是差强人意而已。我觉得译本最有损原著的地方，在于用词上的不协调和不谨慎，尤其在诗歌翻译上，使得全书有情节，而无意境。我自己没有做这本书的翻译，所以也不好做太多批评。翻译中的艰难，有时是读者难以想象的。尤其在诗歌体裁上。

说起来，书还是一部好书。仅情节一条，就可以给个高分。当代小说着眼学术研究的，并不多。对学术研究，尤其是文学研究中的种种弊端，了解的人就并不多见，能如此隐晦、又如此辛辣地予以讽刺的文学作品，就更不多见。原书作者本人大约在此文学研究的圈子里浸濡良久，有些篇章文字可以见得其不吐不快的心情。在讽刺之外，作者以女性的角度，对感情和性别关系，无论是当下的、或是古典的，予以了深刻剖析。对比了古典世界的女性姐妹情谊（sisterhood）与现代女性的性向的多重选择，探讨了古典家庭伦理道德与现代情感选择的自由与受缚。从笔法上看，时空转换自然而不晦涩，人物关系复杂却很有条理。字里行间弥漫着十九世纪英式古典风范。难怪此书一出，便多有好评。

再来看这部电影，就连差强人意也算不上了。导演和编剧尽力保留了全书叙述的主干，却丢掉了全书的灵魂。比如，原著利用诗歌和信件做的叙述视角转换，可以在叙事的同时，强调情感上的古今大同。这一点其实完全可以以电影手法全面表现，然而实际的效果实在让人失望。让人不由觉得，导演自己本身并没有读透原著。原书的人文精神和对情感、性别关系的讨论在影片里荡然无存。甚至影片还设计了主人公对偷盗行为的津津乐道，而这正是原书作者想极力纠正的——罗兰在图书馆偷出了那封信的草稿并不假，然而之后，罗兰和莫德的每一步研究和探索，都是遵从学术规范的，作者设计的两组、甚至三组不同研究人群，正是对当下学术研究制度中不可避免的自私与肤浅的嘲笑与抨击，而到了影片这里，这反倒成了一种乐趣。实在让人不知可以说什么。另外，原书中所涉及的不同情形下，人与人之间的疏离与亲密之间的张力，在影片中也全无体会。一本深入浅出的好书，最终被拍成了两段几乎没有交集的、老套的爱情故事。

若是不看原著，仅看电影。应该可以归到诸如《真爱至上》一类的爱情小品。如此看来，应该打个尚可的分数。影片色彩明快，节奏也并不拖沓。两位女演员的表演，尤其是饰演克里斯贝的Jennifer Ehle，十分可圈可点。格温妮丝一贯的英式风范和知性自然不必提，而詹妮弗简直是个奇迹，可以在这样的剧本中，准确地再现和表达了克里斯贝刚柔兼济的人物性格。可惜克里斯贝的矛盾与踌躇无法显现，这不是演员的错，是导演和编剧的过失。可惜了这两个好演员。给这部电影三颗星，完全在詹妮弗身上。

    Possession: a romance is often considered as a complex suspense novel regarding history of literature and love. The story starts with a twentieth century dead-in-wood scholar Roland who spends all his time studying a poet Ash from the nineteenth century. It appears at the beginning of the novel that this book focuses on the position of males, particularly Roland and Ash, in different social background. However, new highlights are brought into the novel when Roland discovered the love letters between Ash and Christabel, another poet at that time. The author portrays Christabel and Maud Bailey, tow ladies from different times who change to fight for their freedom to discuss the roles of women through out the history, and how the talent and freedom of women was suppressed.

       Both Christabel and Maud are described in a somehow negative manner when they first appeared in the story. Roland describes the photo of Christabel as “no clear impression of anyone in particular; it was generic Victorian lady, specific shy poetess” (Byatt 44) Similarly, Maud is described as a very ordinary figure. “At first he did not identify Maud Bailey, and he himself was not in any way remarkable” (44). Thus, it can be clearly seen that both Christable and Maud were not considered stunning based on how they looked. Roland even has the impression that Maud “smelled of something ferny and sharp. Roland didn’t like her voice” (44). This shows that most people in the society didn’t appreciate women’s beauty at first sight.

     Byatt makes lots of hints and metaphor regarding the fact that people didn’t realize the talent and importance of women. Maud Bailey’s hair is blonde and metallic, a gold that might have existed before the discovery of precious metal: As she unbinds her mane "Roland saw the light rush towards it and glitter on it, the whirling mass, and Maud inside it saw a sea of gold lines, waving" (296). This represents Maud’s stunning beauty and talent; however, She wears it covered with a scarf, symbolic of repressed Victorian sexuality. Although Christabel’s hair color (like Maud’s hair and the scintillating waters of the fountain) is metamorphic in hue, we have seen that it contains pale loops of silver-gold (301). Gold – the color of charm, confidence, and power linked two women together in reflecting an essential element of their feminine nature—fertility, confident and attracting.
“Mine the bright earth
Mine the corn
Mine the gold throne
To which you’re born
Lie in my lap
Tumbled with flowers”
This is the song of the gold lady who wears a "queenly crown of gold, a filigree turret of lambent sunny gleams and glistering wires above crisping gold curls as heavy with riches as the golden fleece itself" (169). Based upon these parallels, we can conclude that in Possession, women’s wealth — their power and energy — lies in their hair. Even though Christabel’s and Maud’s beauty and power is not recognized, their natural female characters still exist and shine just like the sparkling gold lady.

The connection between Maud and Christabel serves also to connect the past to the present, the Victorian to the Post-modern. Feminism is an important aspect in each time period of the novel. Maud is a modern feminist, attempting to balance her identity as a woman with her identity as an academic scholar, and Christabel is trying to overcome her femininity by living as a recluse with another woman before she met R. H. Ash. Similarly, Maud is a withdrawn person, wary of men, and distrustful. Christabel is doing what many women of her time were doing, that is, struggling for masculine freedom in a world that was very limited for a woman. Maud is doing what many women today are attempting to do, that is, trying to reconcile and accept her femininity in an academic, typically male, environment. Byatt plays up this feminist view of literature and society by choosing to base Christabel's poetry on the strongly feminist poetry. She and Maud are living the liberated version – living on their own, being away from the secular society. These all indicate the ways that women fight against the social pressures and choose their own liberate styles to live.

          Not surprisingly, the light that gold emits cannot be covered up. Eventually, the free soul broke out and the courage pursuing liberty and love beat the fear of being different from others. Christabel and Maud both changed, as they could not reserve their true feelings anymore. In Victorian tradition, it was the man who 'owned' the woman, his wife. Yet in this modern Victorian work, that becomes twisted. When Ash attempts to 'claim' Christabel on page 308 by holding her and making love to her, the act of possession is switched around. He is trying figuratively to grasp her, and 'she was liquid moving through his grasping fingers, as though she was waves of the sea rising all round him.' He tries to take her all in, to know her, and her womanhood eludes him, as personality always will. Byatt's message seems to be that a personality cannot be taken or possessed by someone else, that individuality always remains, even in Victorian situations of female oppression and domination by males. The same love story that defines Christabel and Ash in the 1860's also describes Roland and Maud in the 1980's. Roland gradually changed his impression about Maud and found her extremely charming as a serious scholar and a beautiful independent woman. As two hearts got closer and closer, Maud finally chose to be her true self. She told Roland about her relationship with Fergus, and the reason why she reserved beauty. Then she was convinced to uncover her hair. “The segments of the plaits were like streaked and polished oval stones, celandine yellow, straw-yellow, silvery yellow, glossy with constricted life. Roland was moved—not exactly with desire, but with an obscure emotion that was partly pity, for the rigorous constriction all that mass had undergone, to be so structured into repeating patterns. If he closed his eyes and squinted, the head against the sea was crowned with knobby horns.” (291) This was how Roland felt when he saw Maud’s hair. The incomparable stunning beauty shocked Roland. “Life is so short,” said Roland. “It has a right to breathe.”(291) The courage and desire for love and freedom made them decide to give their love the right to breathe.

          Through the two love stories, sexuality is also discussed. On page 6, there is a passage on R.H. Ash's poem representing Proserpina, an ideal Greek woman, as 'gold-skinned in the gloom..grain golden… bound with golden links.' This is an example of idealized fertility and sexuality in Victorian women. It represents sexuality as something that can be conquered and possessed, like gold or grain. The suppression of sexuality in the Victorian era is a theme throughout the book, in both time periods, as is the sexual freedom that both couples eventually reach. The sexuality in Victorian society can be traced in Possession.

        Byatt successfully displays the change of the roles of women through out the history by shifting from the 1860's to the present. The romances are so similar that it is often difficult to tell which couple Byatt is writing about in any given situation. The way this romantic narrative fits both couples and time periods seems to suggest that not so much has changed, and romance from one time to another is not so different as we thought. The characters mix the old and the new; Maud wears a brooch once belonging to Christabel, and another Ash scholar, Mortimer Cropper, carries Ash's pocket watch. In the end of the novel, the last love letter written by Christabel enables Maud to finally enjoy the value of love in the present, and give her trust to Roland. The cyclical time frame of the novel provides an interesting contrast to the normal, stifling, linear time frame of typical literature and everyday life.

         Possession, a novel with lots of feminism color, does a good job in portraying two female characters from different times to call for the respect and attention for women from the society. Christabel and Maud are two respectable females who set an example for women to be who they want to be and gain respect and love they deserve.

  On account of lacking enough time, I meant to watch this film instead of the original work. But now I determine to appreciate this book,since I believe the plot will be complete and meaty that engages me more.
  In the typical English romance, for me what the two protagnists talked with each other sounds like a song lingering on my ears.

    they say that women change
  'Tis so,
  but you are ever-constant in your changefulness
  like that still thread from the falling river,
  one from source to last embrace in the still pool
  and ever renewed,
  and ever moving on
  from first to last,
  a myriad of water droped
  and you-
  i love you for it-
  are the force that moves that holds the form

  These things are there. The garden and the tree
  The serpent and its root, the fruit of gold
  The woman in the shadow of the boughs
  The running water and the grassy space.
  They are and were there. At the old world' rim,
  In the Hesperidean grove, the fruit
  Glowed golden on eternal boughs, and there
  The dragon Ladon crisped his jewelled crest
  Scraped a gold claw and sharped a silver tooth
  And dozed and waited through eternity
  Until the tricksy hero Herakles
  Came to his depossession and the theft.
 
   Ash must be a fabulous poet who wrote such spectaculous words that really moved me. I can understand the conflict in Belly's heart. On the one hand, she loved the man who was always resisting to
admit his feeling, and longed for develop further relationship with him. On the other hand, she was scared. She was reminded of the relationship and the pathetic ending of Ash's true love, all her own love affairs and others. All love turns out to be ashes of time.
  
Even though a man's flame burns up his lover, even he makes her breath-taking, when they are confronted with the fierce reality, they have to choose to sacrifice or make a compromise.

演女诗人的那个演员就是95的《傲慢与偏见》的女主角，她浪漫，优雅，自信，独立的气质真是让人印象深刻，先看的这个电影才然后才看的95的《傲慢与偏见》的，当时看见傲慢与偏见的时候就觉得这简直就是我心中的Elizabeth,两段感情都让人觉得浪漫而美好，是个不错的片子！