无可救药爱上你2002

看完之后心里很难过，很遗憾。鲁迅先生曾经说过：悲剧将人生的有价值的东西毁灭给人看，喜剧将那无价值的撕破给人看。也许是我太感性了吧，不过我不能否认这样的结局很完美。喜欢片子穿插的基调——优雅的男女，内敛的感情，美丽的英格兰田野，一百多年前的蒸汽火车，橙色光线下柔和的脸庞，温婉而安然的笑容。
喜爱这部片子的朋友，也推荐你看朗读者（THE READER）

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！

 《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。

其实我很喜欢他们两个穿着舒服的睡衣躺在大床上说心事的片断。

但俺这种胆小怕事的人，无法容忍两个文学博士的研究方法。他们每一次研究的突破点不是要依靠从图书馆里偷原始文献，就是从别人办公室里偷他人信件，或从别人家里偷私人信件，最后还要把别人的坟墓抛开，为了争抢挖坟还抱以老拳，肆无忌惮的乱乱翻别人的遗物。

最后当然研究者与被研究者之间还有了血缘关系，所以大家轻易的忘记了之前的偷鸡摸狗。

学术研究到这份上，有点灵魂附体加鸡鸣狗盗的意思了

ps：演lizzy的英国女的眼睛还是那么亮a

有时间的话读一下原著吧, Byatt模仿维多利亚时代诗人Robert Browning和美国女诗人Emily Dickenson写的那些戏剧独白和短诗着实精彩, 还有浸泡着浓浓的书卷气的无比含蓄却热烈的书信,读起来浑身鸡皮疙瘩...小拜模拟人物说话写作的水平是一流的.就像她形容男主角Randolph Ash的那样, 是一伟大的ventriloquist

    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.