影片以一支希臘劇團(tuán)在露天劇場(chǎng)合唱，作為開場(chǎng)。觀影尚未進(jìn)入狀態(tài)，進(jìn)而即刻切換至紐約列克星敦的餐廳內(nèi)，主人公海倫娜的第一句話便是：“蘭尼，我想要個(gè)孩子?！憋@然這便是影片的核心。被領(lǐng)養(yǎng)的男孩，成為全片的線索?！拔沂撬⒆拥酿B(yǎng)父，她是我孩子的生母“，兩個(gè)看似毫無交集的人，因領(lǐng)養(yǎng)這一事實(shí)，被綁定在一個(gè)時(shí)空，而雙方卻對(duì)此毫無所知。觀看至此，頗有希臘神話的諷刺意味。而導(dǎo)演兼主演的伍迪·艾倫所飾演的蘭尼——一位體育欄目的記者，是一個(gè)偏執(zhí)狂。因?yàn)槠珗?zhí)，角色進(jìn)行了合理的夸張，制造出許多妙趣橫生的笑點(diǎn)，盡管，伍迪·艾倫在影片中，是極為嚴(yán)肅的?！霸谌祟愃械娜觞c(diǎn)中，偏執(zhí)是最危險(xiǎn)的”，希臘合唱團(tuán)的這句戲中戲臺(tái)詞，亦貫穿了影片的脈絡(luò)。當(dāng)蘭尼糾結(jié)擰巴偏執(zhí)的情緒占據(jù)上風(fēng)使，總有一位希臘合唱隊(duì)員，出現(xiàn)在畫面中，旨在旁白蘭尼的內(nèi)心。這一看似無關(guān)聯(lián)的融合，是為全劇的一大亮點(diǎn)，頗有趣味。在希臘歌劇中，命運(yùn)的軌跡是劇情的中心，同時(shí)也是這部影片的寓意所在。命運(yùn)是自我難以掌控的事物，蘭尼以為自己可以掌控命運(yùn)和主宰生活，掌控海倫娜的生活，甚至回答養(yǎng)子的提問：“誰是家里的老大”時(shí)，以為可以掌握自己的人生和家庭的軌跡，但事實(shí)卻非如此。整部影片，亦是關(guān)于命運(yùn)的反諷，盡管，對(duì)美國(guó)文化并不了解，影片距今時(shí)隔近三十年，而優(yōu)秀的影片，本已跨越了時(shí)代的變遷，當(dāng)下觀影，仍舊能get到導(dǎo)演的用意及全片的主旨。

The habitus of Woody Allen’s MIGHTY APHRODITE couldn’t be more unsavory in the light of the current political and cultural ethos and the alleged accusation in which he is personally enmeshed, roughly taking its cue from PYGMALION, its story goes like this, after Lenny Weinrib (Allen), a middle-aged sportswriter, has found out that the biological mother of his adopted son Max (McQuaid), who is endowed with a higher IQ, is a bimbo prostitute and part-time porn star named Linda Ash (Sorvino), he tries every which way to persuade her to give up her profession and get settled down with an ideal man who loves her.

But Lenny’s action is anything but altruistic, he has his own face to save in case in future Max might want to know the truth of his parentage, a hairdresser of happy domesticity is what he aims for, although most of the fun derives from Lenny’s unresolved discombobulation about the genetic pedigree of Max’s genius, and gauging by Linda’s divulgence, the child might very likely be a “bad seed”, anyway, that is an excursus.

If Allen is often faulted for delusions of grandeur in his lesser works, MIGHT APHRODITE is guilty as charged, mostly for Lenny’s paternalistic attitude of playing God to save a ditzy sinful soul of the opposite sex, not to mention chiefly for his own sake, but courtesy to a corn-fed Sorvino’s zippy, down-to-earth unrestrainedness (an Oscar winner!, the Academy surely adores the stereotype of a call girl with a golden heart), Linda freshens up most comically and sympathetically for her unalloyed openness and genuineness in spite of being physically compromised in the morass of moral depravity, if Max does inherit any “good genes”, we can assure that is where they come from. In that regard, Allen’s homage to a woman’s incorruptible purity of immanent goodness is condescending, yes, but also amusingly touching.

Helena Bonham Carter, who plays Lenny’s two-timing curator wife Amanda, fares less agreeable in a mostly sidelined position, and it is rather difficult to dispel Allen’s prurient proclivity of the couple attaining a reconciliation only after both get their feet wet in adultery, a waters-muddying ploy that recoils on the movie’s intended feel-good aftertaste.

Surely one cannot finish the review without mentioning Allen’s hyperbolic conceit of orchestrating a Greek chorus to add some flourish, which bookends and punctuates the whole movie (often as a phantom manifestation), but the catch is, Lenny’s twee story is, to all intents and purposes, out of the proportion with such a majestic gesture. However, the movie's finale is a good one, instead of blowing the lid off the secret we audience is let on from the very start, appending a fresh one to counterpoint the quirk of fate is quite a cheery kicker.

referential entries: Allens’ HUSBANDS AND WIVES (1992, 7.3/10); George Cukor’s MY FAIRE LADY (1964, 7.8/10).

海倫娜在片中是woody的老婆，藝術(shù)家，想要開自己的畫廊。

剛開始出現(xiàn)的造型都是偏松垮的，很像是不得志的畫家。

她很愛格紋！圖三的大格紋襯衫被她穿得很好看??！大地色系，隨意不做作的搭配。

從這里開始女主明確了自己的目標(biāo)，想要開一個(gè)自己名字的畫廊 ，然后打扮也漸漸精致起來。這套黑色縫線的外套配上休閑帽正式但不會(huì)呆板。

和投資人的曖昧戲，格紋又出現(xiàn)了！發(fā)型好評(píng)。

這套比較欣賞不來的搭配，有種絕望感。

在派對(duì)上女主穿了絲絨質(zhì)地的V領(lǐng)修身上衣搭配同色系高腰束帶褲。區(qū)別邊上貴婦們的裙裝，倒是有幾分干練。這時(shí)開畫廊的錢已經(jīng)基本籌到，和投資人的關(guān)系也已進(jìn)一步確定，造型上也有一點(diǎn)點(diǎn)變化。

黑色針織衫配上高腰A字裙的這一組在片中令人印象特別深刻。女主由起先寬松隨性的打扮慢慢變成了精致小女人的扮相，還有一些搭配得很不錯(cuò)的金色飾品。直到和男主復(fù)合也是這一套，是不是有兩人關(guān)系上的起色呢？