This film to me is about redeeming qualities of however flawed personalities. There is no evil here, and in this sense it is not very American, in a more puritan, Manichean sense. We are led to believe that the wrongfulness of people's behavior has more to do with unthoughtfulness or carelessness, than plain wicked nature or ingrained vice. Very refreshing.
Yet, precisely for this reason, the film would have been stronger if the plot strains credibility a bit less. It is a comedy about the reality of human conditions, if you will, therefore it must present a illusion of some sort of reality. The writer/director, hoever, indulges in too many caricatures and cartoonish turns of events to stay close to that illusionof reality. Too bad.
The film could have been enlightening; now it is only entertaining.
我觉得这里的“happy endings”是一个相对的说法。
我现在越来越觉得,如果你在生活,那么经验主义也会带你进入歧途。简单的比喻-快乐和痛苦对每一个活人轮番攻击,每一次鲜同,所以每一次都要全新地去认识,我想我们才能获取更多。也许大家把它归结在“生活的规律”里面,而规律我觉得,在生活中,不能把它当作数学公式。
Happy endings,never endings ,unless you're already a dead.
Happy endings-越过了当前的痛苦,下意识或者说不可抗拒的等待着未来的更高一级的痛苦。
希望每个人许许多多的“happy ending”.
[最后]电影的屏幕分割方式,给观众带来很多轻松的心情:)
我需要看点喜剧,所以我选择看《幸福结局》,尽管磕磕绊绊的剧情人生并不很愉快,但是却是会很幸福。05年的“老片”,不是致力于搞笑的片子,却有时不时严肃地逗得你打滚着大笑的力量,而且整个剧情拍摄的行云流水、俏皮轻松。
情节和人物关系有点错综,三条主线,所有的关系都能串起来。一开始就是跟踪镜头,奔跑的女人、追逐的男人、尖叫、车祸,然后没有旁白而是屏幕右侧的字幕:她没死。这部电影里没有人死。它是一部喜剧,从某种意义来说。然后是回忆麦蜜18岁,引诱自己的没有血缘关系的“弟弟”查理,然后人到中年的麦蜜拿了优惠券去按摩,遇到“行牛郎服务之实”的墨西哥人贾维尔。麦蜜遇到自称尼奇的“电影工作者”,为了拿到电影协会的奖金,拿10多年前麦蜜剩下并丢弃的孩子的下落威胁她要拍一部“千里寻子”的纪录片。与此同时,成了同性恋者的查理怀疑他的同居伙伴吉尔的酷儿伴侣朋友帕米拉和黛安的儿子是她们偷了吉尔的精子生下的。这边厢麦蜜哄骗尼奇说要贾维尔帮他拍“墨西哥移民按摩性服务行业内幕”的纪录片
“幸福结局”大卫·萨克莱夫新作,总有人不需要结局
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