直到《手機》影片結尾才恍然大悟為什么要唱那段“牛三斤，牛三斤，你的媳婦呂桂花問你最近還回來么”，想來馮小剛彼時還是厚道人，打算讓觀眾也思考點問題，不像后來《夜宴》的時候讓我無話可說。這電影看完了，肯定又有人要說“人制造了工具，卻也被工具所奴役”，工具讓人異化。不過我感興趣的東西倒不在這里，的確手機讓很多人穿幫了，但是只要人們有需要，更高科技的掩飾工具就能誕生。據說以后3G手機普及了，我們可以直接和對方視頻了，但是同時也有人開始賣手機視頻背景了。費墨說，古代舉子出去應考，一出去就是幾年，回來了，他說什么都是成立的。今天，交通方便了，再想說個謊多么不容易啊。曾經不止一次在公交車上聽到女友去查男友的電話清單，這真是個做什么事情都會留下證據的年代。

    前些天，我一直在想，為什么古代人丈夫出去一年也就在過年那幾天在家，妻子在家贍養(yǎng)老人撫養(yǎng)幼子并無問題，而今天似乎情侶之間須臾不可分離了。一旦分離日久，便會產生共同話語減少只到無話可談。我想，是古人對愛情更純潔到能抵抗時間與空間么？拿這個問題問身邊同學老師，沒有得到答案。直到今天看到這個《手機》，答案終于探的一點了。

    男子在外幾年，回家說什么都是成立的，但是不可忽略，妻子在家說什么也是可以成立的。以前我們忽略這一點，總認為是有家人或者鄉(xiāng)親的制約，妻子不能造次?，F在一想，也未必，潘金蓮在丈夫在賣餅那當兒還能和西門慶談談情呢。所以，這種“說什么也是可以成立的”對于雙方都是成立的。呂桂花問牛三斤最近還回來么，隱晦地表達希望丈夫回家。者多少有點年輕夫婦的感情在里面。而二十年后，呂桂花搬到和丈夫住一起了，不過這時候丈夫回來的第一件事兒就是出去串門。這時候，兩人離的很近，但是卻基本無話了?？梢娤胍?，這夫婦對愛情的要求恐怕也就是一起過日子，日子過到這份上也就談不上是愛情導致婚姻了，也就是一個生活互助小組冠以婚姻之名了。

    于是我也明白了，為什么夫婦可以在長期分離的情況下得以維持了，因為他們對感情要求很低！當然了，本文所說的乃是平常人的感情，而不是楊過和小龍女十六年之約的那種小說感情。而現代人對于感情要求明顯變高了，不會出現那種丈夫是舉子妻子不識字的情況了，男女朋友對對方干什么基本是了解的，雙方對對方生活的影響程度明顯加強了。人們需要在一個大致相同的生活圈子里，談雙方都知道的故事。

    人們對感情忠貞的背叛卻是對真感情的回歸。

    這讓我想起了一個故事，一個人處于迷茫中，求教于和尚，和尚拿出三根一樣的蠟燭點上，問：“那一根最亮？”此人搖頭不知。和尚拿出一根蠟燭放到此人眼前，問：“那一根最亮？”此人手指眼前的蠟燭。人感到最重要的，永遠首先是近的，只有近了，才能認識一個事物，才能改變事物。對感情，亦是如此。

    PS：才看《手機》，慚愧

為毛要為這一般般的片子寫評論呢，因為看了半天影評，發(fā)現基本分為兩種意見-------男人精神緊張感覺揭了自己的短，說危險；女人面對洶涌現實，要妥協(xié)。

對，沒錯兒，人性是喜新厭舊。人道主義起見，我們表壓抑人性，男人要出去找人就去吧，女人要寬容，只要不怕壞家庭安定團結你就去吧。

不知道這些人為毛要結婚。可能很多人只想要個室友，如果室友離開，再找室友麻煩，一樣的程序再來一次，累，那干脆就這么將就著吧。所以啊，就有了什么灰色的藍色的紅色的知己之類。

生活能不能簡單點兒呢？有病就是把原本簡單的弄復雜了。

愛就好好愛，不愛就死開。

        Cell Phone (2003) marks the culmination of the popular cultural preoccupation with infidelity. A famous TV talk show host Yan Shouyi, tries without success to maintain the delicate network of lies and concealments that allow him to have two different mistresses in addition to his estranged wife.
        The story starts in a small town where the town’s first telephone, which signifies the modernization in China, has just been installed. In a small village nearby, a young man Yan Shouyi takes a peasant woman to the town to make a phone call to her husband. About twenty years later, the middle-aged Yan Shouyi has already become a popular TV talk show host in a big city, owning a wife, a nice job, a BMW, and a mistress. His life and work would not have taken this path if he had not been equipped with a cell phone, the latest wireless communication technology. But the Cell Phone also causes the end of his marriage: his wife accidentally answers a phone call from his mistress complaining about his absence from a date.
        After getting a divorce, Yan starts a new relationship with a college teacher, Shen Xue, while still occasionally dating his old mistress, Wu Yue. On the several occasions when his double life is about to be discovered by Shen, Yan deftly covers the truth with lies. His close friend Fei Muo, a university professor and producer for his television show, is also involved in a similar love affair with a graduate student, which is soon discovered by his wife. Eventually, Yan’s infidelity is discovered by Shen who sees a digital picture of Yan and Wu making love, a picture taken by the digital camera built into Wu’s new cell phone. Not only is Yan’s relationship destroyed, his career also ends as Wu threatens to expose their relationship and takes over his position as the talk show host. At the end of the film, throwing his cell phone into fire, Yan swears that he will never again own one. Then after a dip-to-black, the film welcomes a second ending, Yan’s niece, who is also from the same village, becomes a cell phone saleswoman and comes to demonstrate the latest product to his uncle Yan. (Zhang, 135)
        Given the obvious Marxist bent of Cell Phone’s rhetoric and its fable-like narrative of the dangers of commodity fetishism, one might easily conclude the film as criticism of the effects of rapid economic transformation in urban China, and denial of male dominance. However, underneath this reading which is merely based on the resolution provided by the film, we can find both the cultural underpinning and ideological impacts of the film, whether they are conscious directorial decisions or not, are the other way around.
        The film is based on patriarchal and post-socialist assumptions in the first place. The leading character, wealthy, successful TV host Yan Shouyi, is representing the controlling patriarchal order and the ruling class. The young and charming mistress Wu Yue, on the other hand, is a sexual object and an oppressed worker reinforcing and perpetuating an exploitative capitalistic scheme. Yu Wenjuan, the pregnant wife and later the mother of Yan’s only child, is a cheap labor whose family value in undertaking housework and fostering children is totally underestimated and neglected by both the character Yan and the filmmaker Feng. Shen Xue, the successor of Yu and Wu, is a wonderful replacement of the two women, since she functions as both mistress and wife and has the highest total value. Therefore, marriage and divorce follow the rules of product exchange. The values of women as sexual commodities are estimated by their male owner, based on evaluation and grading of their sexual attractiveness and productivity among others.
        In the second place, the narration neglects and degrades women’s family values.
While there are scenes of Yan Shouyi working at the TV station and attending meeting with his colleagues, which confirms his value in production, there is hardly any scene of the women working. In addition, among the values of women, the four structures proposed by Mitchell, sexuality is emphasized against reproduction, and socialization. While there are a lot of scenes of Yan Shouyi flirting and having fun with her young and passionate mistress Wu Yue, there is hardly any scene of him and the older and less attractive wife spending time together. The cinematic representation of the reproduction process of Yan’s first wife is almost absent in the film. Having been pregnant for months, Yu Wenjuan did not inform her husband at all, and Yan is only informed several months after divorce by his ex-brother-in-law that his first wife had already given birth to their baby and needs money from him.
        Hiding behind socialization of children and the new motherhood are deeper oppressions of women. Spending a lot of time and energy nurturing the kid, the woman Yu did not get the compensation in improving her own social status; instead she lost her job in the big city after she went back to her hometown. As the value of socialization of children is often neglected by the society, this part of the plot is also omitted in the film, and is only told through Yan’s narration, serving as an obstacle that hinders and adds drama to Yan’s women pursuing career. As her value looks invisible, Yan replaces his first wife not with his mistress whose value only lies in sexuality, but with a beautiful college professor Shen Xue who seems to be a more serious and proper wife candidate, but also has the sexual disposition of a mistress.
        From Yan’s perspective, all the three women can be valued on a materialistic basis. Women become commodities, and their sexual attractiveness, job, education status are all counted in their exchange value while man is the buyer who has the right of choice because of his economic power and dominance in a patriarchal society.
        Extramarital relationship is a fatal violation of Chinese social norms and a tradition that often punishes the woman for such “immoral transgression” (Cui 181). In Cell Phone, the mistress Wu Yue, became the conflict's cause and the incarnation of immorality instead of the Male character Yan Shouyi. As an advanced prostitute, she would love to sell her body in exchange for money and power. And, ultimately, she threatens to replace Yan Shouyi as a television talk show host by using the photo she took in her cell phone. Thus, Yan Shouyi becomes the victimized character pitied by the audiences instead of the evil woman.
        The resolution of the film, Yan Shouyi’s abandoning of the cell phone, which may seem like a self-criticism, is actually a displacement and denial of the guilt and regret by reprimanding the modern technology and communication device. Cell phone becomes the scapegoat for Yan Shouyi, the hypocritical and immoral character, and therefore the patriarchal and capitalist order behind the story, which was supposedly to be criticized, is actually being extended sympathy.
        Depicted as the direct cause of all the conflicts between the protagonist and the three female characters, cell phone, the symbol of post-socialist modernity seems to be criticized. Rui concludes that Cell Phone addresses the subject through the director’s satirical take on consumerism and his exposure of the moral crises and ethical issues brought by expansion of high technology into our everyday lives (Zhang, 136). However, in the first 90 minutes of the film, a fantasy of the patriarchal and post-socialist (capitalist) utopia was already created for the male audiences: mistress as a symbol and accessory of urban success. Female audiences were also given a utilitarian fantasy integrated with the narcissistic and masochistic visual pleasure: being someone’s mistress is the shortcut to wealth and success. Thus, the film belittles the value of women, and denies women's independent existential meaning.
        In addition to the narrative constructed to propagate the attractive image of the “successful personage” that has represented the “new ideology” of contemporary China, an image that endorses a reality of growing class differences and income disparities, Feng Xiaogang adopts a lot of meta-cinematic elements in Cell Phone to offset the seriousness of his own criticism, a technique abundantly used in his early films. There are ample shots within the TV station, such as the staff operating camera, and outtakes of the TV host Yan who says his lines wrong, that remind the audiences to question the authenticity of their own movie watching experience. There is also a lot of inserting advertisements for cell phones that deconstructs the movie’s final critical stance towards post-socialist modernity. As the audiences identify and follow the male protagonist throughout the film, they highly enjoy and celebrate his material wealth and “romantic affairs” brought about by his professional success in the patriarchal and post-socialist order. In the meantime, they also accept a message that all women, whether they are educated or not, college professor or press editor, wife or mistress, are all annexed to the life of men.
        As McGrath noticed, the basic narrative structure of Cell Phone already had become so common by the end of the 1990s as to constitute a cinematic genre in itself, a genre that offers fable-like narratives of the moral dilemmas confronted by protagonists facing dramatic changes in personal economics as well as libidinal possibilities in the reform era. In such films, a man takes on one or more extramarital lovers after achieving some sort of economic success and social elevation (McGrath, 98). In many cases, a man’s ability to defy his wife is supported by both his male role and some sort of economic success. Even though these films reveal the social issues of the oppression of women, they neither provide a solution nor hold a feministic point of view that attempt to liberate women. Instead, they stand in line with the successful male protagonists, and celebrate the current patriarchal and post-socialist status quo. In a word, these films are women-concerned, but not at all feminist films.
        Supposedly a subgenre of family melodrama that aims to criticize the social immorality and educate the audiences, the actual impact of the “cinema of infidelity” is rather doubtful. An example is the sex diary scandal of Han Feng, the former senior tobacco official, which culminates the “mistress fashion” in 2010. Even more dramatic than Feng’s films, the purported diary, written in graphic detail, includes boasts that Han was enjoying sex romps with many different women while taking bribes and attending banquets. Populated by Internet users, Han’s case is just one in a million of the government officials and the privileged stratum in Mainland China.