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一個(gè)小餐廳女招待和一個(gè)富家子弟相愛(ài)，一同幫助貧苦孩子。片中穿插大量歌舞。
長(zhǎng)篇影評(píng)
1 ) 張愛(ài)玲影評(píng)(雙語(yǔ))：萬(wàn)紫千紅 / On With the Show 和 燕迎春 / The Call of Spring
一九四三年十月，張愛(ài)玲在英文月刊《二十世紀(jì) / XXth Century》第五卷第四期的影評(píng)專欄“On the Screen”中，發(fā)表了兩部電影“萬(wàn)紫千紅 / On With the Show”和“燕迎春 / The Call of Spring”的英文影評(píng)。影評(píng)全文掃描請(qǐng)見(jiàn)美國(guó)夏威夷大學(xué)馬諾阿分校哈密爾頓圖書(shū)館中的電子版館藏（可直接下載PDF）：
http://evols.library.manoa.hawaii.edu/handle/10524/32591
On With the Show[萬(wàn)紫千紅]. In the leading parts: Li Li-hwa[李麗華], Yen Djuen[嚴(yán)俊], and Wang Tan-feng[王丹鳳].
The Call of Spring[回春曲]. In the leading parts: Liu Chuen[劉瓊] and Hu Foong[胡楓].
Much of the box-office appeal of On With the Show depends on its promises of sophisticated sensuality; yet the film is curiously na?ve. Li Li-hwa (her photograph appeared in Vol. IV p.141 of this magazine) takes the part of a beautiful and oratorical waitress in a restaurant picturesquely old-fashioned in the European style. Making her first appearance on a cart loaded with hay and farm produce, Li Li-hwa sings and recklessly throws apples to street children. With her songs, her charms, and the aid of the Takarazuka dancers(注：日本寶冢歌劇團(tuán)), she finally raises enough funds to found an orphanage.
Justifying the entertainment by the worthy cause of charity is one of those usual attempts to assuage the demand for an immediate purpose in art. However, On With the Show fails to please everybody all round. Mosquito papers, by far the most favored reading matter among certain urban sets, have contributors who suspect that they do not like On With the Show because of its moralizing. The cannot help complaining that Li Li-hwa shows her famous legs only once, and then half buried in furs.
In Chinese eyes, the Takarazuka dance are expressive only of the splendor of youth, health and intelligent discipline. To the average Chinese, the fascination of ballet lies chiefly in its difficulty. They also find the traditional Japanese dances hard to understand on the screen without the help of the symphonic colors of costumes and background. But on the other hand the audience laughs heartily at the practical jokes the hero and heroine play upon each other—Li Li-hwa fries some bad eggs for her admirer and he sends her an empty cup of ice cream. Also well received are the Chinese Laurel and Hardy who mess about in the restaurant kitchen. On With the Show is a success with the public in spite of its banal situations, its structural weakness, and its apparent clashing of adult and infantile interests. The last-mentioned shortcoming may be disregarded, because modern Chinese of all ages are like children in their fondness for birthday cakes, with or without dancers swirling around one as in the charity performance in On With the Show. The whole picture is modelled on the Hollywood series of Gold Diggers and The Big Broadcast and is meant to "feed the eyes with ice cream and seat the heart in a sofa"—to quote the phrase a Chinese critic once applied to these American extravaganzas.
The Call of Spring presents a far more serious problem. With the modern, Westernized stage as its background, it is written, directed and enacted by Liu Chuen (also portrayed in Vol. IV, p.145 of this magazine), the idol of girl students. The Call of Spring finds an enormous following among the young intelligentsia and is formidably advertised as "recommended by the critical public." In the role of an actor, Liu has the opportunity to do bits as Romeo and as Armand of La Dame aux Camélias. In another "play within the play," Liu makes a convincing old man, but an Occidental one who digs his thumbs into his waistcoat pockets à la Lionel Barrymore. The hero of the picture writes plays with the help of coffee, and the camera dwells with genuine delight on the glittering coffee-pot. When in distress, he gets drunk in a bar. When he falls into poverty, he works as a coolie in a park, his overcoat shabby but shapely like that of a smart foreign tramp; his life in the park seems a perpetual picnic with lots of time for brooding by the campfire.
It is appalling to reflect that, in the imagination of young Chinese intellectuals nurtured on a quarter of a century of foreign films and fiction, there is so little room for anything really Chinese. The transformation has clearly gone past the stage of "fundamentally Chinese, functionally Western, (注：中學(xué)為體，西學(xué)為用)" the slogan invented at the beginning of this process of Westernization.
The unanalytical acceptance of foreign romances— reality twice removed— results in much posturizing. In modern Chinese art as well as life, the expre$sion is often affected when the emotion is genuine. Liu Chuen is doubtlessly sincere in The Call of Spring, especially in his passionate exposure of greedy theatrical managers. The hero acts always in accordance with the new sense of propriety. Accidentally crippled, he feels he stands in the way of his wife's happiness. He leaves the scene. In a tragic little note he gives her his blessing and asks her not to look for him, as it would be futile. A glance at the personal column in Chinese newspapers ("Since you disappeared, mother refuses to eat or leave her bed. Grandmother had her heart attacks. Whole family daily washes face with tears. Return at once") shows us that Chinese under thirty are prone to walk out of their homes because of abstract principles, domestic disputes, failure to pass examinations, the incompatibility of cultural atmosphere, etc. Perhaps no other work has influenced the average educated Chinese of this century so much as Ibsen's A Doll's House, and in this, as in everything else learned from the West, the Chinese are more impressed by the bleak beauty of Nora's gesture than by the underlying thought. — Eileen Chang[張愛(ài)玲]
-----雙-----語(yǔ)-----分-----割-----線-----
二〇〇二年四月，中國(guó)華僑出版社編輯出版了《張愛(ài)玲文集·補(bǔ)遺》一書(shū)，收錄有陳炳良先生對(duì)本篇影評(píng)所做的中文翻譯，現(xiàn)引用如下，以供參考：
《萬(wàn)紫千紅》和《燕迎春》
《萬(wàn)紫千紅》(李麗華、嚴(yán)俊、王丹鳳主演。）
《燕迎春》（劉瓊編、導(dǎo)、演。）
《萬(wàn)紫千紅》所以能吸引觀眾，是在于它的“高級(jí)調(diào)情”的宣傳；但它卻天真得令人有點(diǎn)奇怪。李麗華飾演在一家景色怡人的古老歐洲式餐館里的漂亮而口齒伶俐的女侍。她出場(chǎng)時(shí)坐在一輛載滿了干草和農(nóng)產(chǎn)品的推車上，一面唱歌，一面無(wú)拘束地把蘋果擲向街上的兒童。她的歌，她的美，加上寶冢舞女，使她終于籌足了錢建一所孤兒院。
用慈善籌款來(lái)作為舉行娛樂(lè)表演的理由，是企圖緩和對(duì)藝術(shù)表演需求的一個(gè)常用的手法。但是《萬(wàn)紫千紅》并沒(méi)有使每個(gè)人都高興。在市民所愛(ài)看的小報(bào)上，有人指出《萬(wàn)》片不受歡迎的原因是因?yàn)樗f(shuō)教。他們抱怨李麗華只把她出名的玉腿呈現(xiàn)一次給觀眾，以后就半裹在皮裘里面。
在中國(guó)人眼中，寶冢的歌舞只表現(xiàn)青春的美好、健康，和合理的規(guī)律。對(duì)普通的中國(guó)人來(lái)說(shuō)，芭蕾舞的吸引力是在它的困難程度上。他們也覺(jué)得日本歌舞在銀幕上如果沒(méi)有服裝和背景的繽紛彩色，便很難明白。另一方面，觀眾對(duì)男女主角互相捉弄感到開(kāi)心——李麗華給她的追求者煎了些臭蛋，而他又送給她空的冰淇淋杯子。還有那對(duì)把廚房弄得一團(tuán)糟的中國(guó)萊路、哈地，也被觀眾所接受。雖然“萬(wàn)”片有著平平無(wú)奇的場(chǎng)景、軟弱的結(jié)構(gòu)，和成人與兒童口味的沖突，它對(duì)一般觀眾來(lái)說(shuō)仍是成功的。至于上面所說(shuō)的第三個(gè)缺點(diǎn)，我們可以不理，因?yàn)橹袊?guó)現(xiàn)在的成年人也和小孩一樣喜歡生日餅，不管它是否像在《萬(wàn)》片的慈善表演中一樣有舞女在旁邊團(tuán)團(tuán)轉(zhuǎn)。全片仿照好萊塢的Gold Diggers(注：華納兄弟1929年至1938年間發(fā)行的系列歌舞片，共五部)和它的續(xù)集The Big Broadcast(注：派拉蒙1932年至1938年間發(fā)行的系列歌舞片，共四部)，目的是要使觀眾做到對(duì)這兩部美國(guó)歌舞片的評(píng)語(yǔ)所說(shuō)的“眼睛吃冰淇淋，靈魂坐沙發(fā)椅”。
《燕迎春》發(fā)生了個(gè)更大的問(wèn)題。這部片子是由女學(xué)生偶像劉瓊用現(xiàn)代西式舞臺(tái)作為背景來(lái)編、導(dǎo)、演的。《燕》片在年輕知識(shí)分子中，有很多支持者。而它更大事宣傳，說(shuō)是被有批評(píng)眼光的觀眾所推薦。在片中劉瓊飾一個(gè)演員，他有機(jī)會(huì)演羅密歐和“茶花女”的亞孟。在另一場(chǎng)戲中戲里，劉的外國(guó)老人扮相也令人信服。他把拇指插在背心口袋里，像Lionel Barrymore(注：賴尼爾·巴利摩，美國(guó)奧斯卡影帝)—樣。片中主角靠咖啡的幫助去寫作和演出，而鏡頭就把興趣集中在閃閃生光的咖啡壺上。在困惱的時(shí)候，他就往酒吧買醉。貧窮時(shí)他到公園里做苦工。他的大衣陳舊，但裁剪合度，像一個(gè)外國(guó)的瀟灑流浪漢。他在公園里的生活，像永遠(yuǎn)在吃野餐和花很多時(shí)間在火堆旁邊沉思。
對(duì)受了四分之一世紀(jì)外國(guó)電影和小說(shuō)薰陶的中國(guó)年輕知識(shí)分子來(lái)說(shuō)，片中沒(méi)有多少是中國(guó)東西，這種情形是令人著惱的。這轉(zhuǎn)變已遠(yuǎn)遠(yuǎn)超過(guò)了洋務(wù)運(yùn)動(dòng)時(shí)所提倡的“中學(xué)為體，西學(xué)為用”了。
對(duì)外國(guó)愛(ài)情故事不經(jīng)批判的接受，這種和現(xiàn)實(shí)雙倍地遠(yuǎn)離的情況引起了不少問(wèn)題。在現(xiàn)代中國(guó)藝術(shù)和生活中，當(dāng)感情是真摯的時(shí)候，表情常會(huì)受到影響。劉瓊在《燕》片中無(wú)疑是誠(chéng)實(shí)的，尤其在他激動(dòng)地揭露貪婪的戲院經(jīng)理的真面目的時(shí)候。主角時(shí)常按照他新得到的合情合理的感覺(jué)去做事。當(dāng)意外地弄跛了他的腿以后，他覺(jué)得他會(huì)使妻子不快樂(lè)，便自己出走。在他給她帶有悲情的字條中，叫她不要找他，因?yàn)槟鞘峭絼诘?。稍看一下尋人廣告——“自你走后，母親不食不眠，祖母心臟病發(fā)，全家每日以淚洗面，速回家?！薄覀兛梢砸?jiàn)到三十不到的中國(guó)人很容易為了抽象的原則、家庭的糾紛、考試的失敗、文化的不適應(yīng)等而離家出走。在這世紀(jì)中，可能沒(méi)有一本書(shū)比易卜生(注：Henrik Johan Ibsen，挪威著名劇作家)的《傀儡家庭》(注：1879年創(chuàng)作的劇作，挪威語(yǔ)原名“Et dukkehjem”，英文譯名“A Doll House”或“A Doll's House”，中文又譯作“娜拉”或“玩偶之家”)所給予一般受過(guò)教育的中國(guó)人的影響更大。如同對(duì)其他從西方學(xué)回來(lái)的東西一樣，中國(guó)人對(duì)這劇本中娜拉的美麗而蒼涼的手勢(shì)所得的印象，較之它所包含的思想，更有興趣。 — 陳炳良 譯
http://evols.library.manoa.hawaii.edu/handle/10524/32591
On With the Show[萬(wàn)紫千紅]. In the leading parts: Li Li-hwa[李麗華], Yen Djuen[嚴(yán)俊], and Wang Tan-feng[王丹鳳].
The Call of Spring[回春曲]. In the leading parts: Liu Chuen[劉瓊] and Hu Foong[胡楓].
Much of the box-office appeal of On With the Show depends on its promises of sophisticated sensuality; yet the film is curiously na?ve. Li Li-hwa (her photograph appeared in Vol. IV p.141 of this magazine) takes the part of a beautiful and oratorical waitress in a restaurant picturesquely old-fashioned in the European style. Making her first appearance on a cart loaded with hay and farm produce, Li Li-hwa sings and recklessly throws apples to street children. With her songs, her charms, and the aid of the Takarazuka dancers(注：日本寶冢歌劇團(tuán)), she finally raises enough funds to found an orphanage.
Justifying the entertainment by the worthy cause of charity is one of those usual attempts to assuage the demand for an immediate purpose in art. However, On With the Show fails to please everybody all round. Mosquito papers, by far the most favored reading matter among certain urban sets, have contributors who suspect that they do not like On With the Show because of its moralizing. The cannot help complaining that Li Li-hwa shows her famous legs only once, and then half buried in furs.
In Chinese eyes, the Takarazuka dance are expressive only of the splendor of youth, health and intelligent discipline. To the average Chinese, the fascination of ballet lies chiefly in its difficulty. They also find the traditional Japanese dances hard to understand on the screen without the help of the symphonic colors of costumes and background. But on the other hand the audience laughs heartily at the practical jokes the hero and heroine play upon each other—Li Li-hwa fries some bad eggs for her admirer and he sends her an empty cup of ice cream. Also well received are the Chinese Laurel and Hardy who mess about in the restaurant kitchen. On With the Show is a success with the public in spite of its banal situations, its structural weakness, and its apparent clashing of adult and infantile interests. The last-mentioned shortcoming may be disregarded, because modern Chinese of all ages are like children in their fondness for birthday cakes, with or without dancers swirling around one as in the charity performance in On With the Show. The whole picture is modelled on the Hollywood series of Gold Diggers and The Big Broadcast and is meant to "feed the eyes with ice cream and seat the heart in a sofa"—to quote the phrase a Chinese critic once applied to these American extravaganzas.
The Call of Spring presents a far more serious problem. With the modern, Westernized stage as its background, it is written, directed and enacted by Liu Chuen (also portrayed in Vol. IV, p.145 of this magazine), the idol of girl students. The Call of Spring finds an enormous following among the young intelligentsia and is formidably advertised as "recommended by the critical public." In the role of an actor, Liu has the opportunity to do bits as Romeo and as Armand of La Dame aux Camélias. In another "play within the play," Liu makes a convincing old man, but an Occidental one who digs his thumbs into his waistcoat pockets à la Lionel Barrymore. The hero of the picture writes plays with the help of coffee, and the camera dwells with genuine delight on the glittering coffee-pot. When in distress, he gets drunk in a bar. When he falls into poverty, he works as a coolie in a park, his overcoat shabby but shapely like that of a smart foreign tramp; his life in the park seems a perpetual picnic with lots of time for brooding by the campfire.
It is appalling to reflect that, in the imagination of young Chinese intellectuals nurtured on a quarter of a century of foreign films and fiction, there is so little room for anything really Chinese. The transformation has clearly gone past the stage of "fundamentally Chinese, functionally Western, (注：中學(xué)為體，西學(xué)為用)" the slogan invented at the beginning of this process of Westernization.
The unanalytical acceptance of foreign romances— reality twice removed— results in much posturizing. In modern Chinese art as well as life, the expre$sion is often affected when the emotion is genuine. Liu Chuen is doubtlessly sincere in The Call of Spring, especially in his passionate exposure of greedy theatrical managers. The hero acts always in accordance with the new sense of propriety. Accidentally crippled, he feels he stands in the way of his wife's happiness. He leaves the scene. In a tragic little note he gives her his blessing and asks her not to look for him, as it would be futile. A glance at the personal column in Chinese newspapers ("Since you disappeared, mother refuses to eat or leave her bed. Grandmother had her heart attacks. Whole family daily washes face with tears. Return at once") shows us that Chinese under thirty are prone to walk out of their homes because of abstract principles, domestic disputes, failure to pass examinations, the incompatibility of cultural atmosphere, etc. Perhaps no other work has influenced the average educated Chinese of this century so much as Ibsen's A Doll's House, and in this, as in everything else learned from the West, the Chinese are more impressed by the bleak beauty of Nora's gesture than by the underlying thought. — Eileen Chang[張愛(ài)玲]
-----雙-----語(yǔ)-----分-----割-----線-----
二〇〇二年四月，中國(guó)華僑出版社編輯出版了《張愛(ài)玲文集·補(bǔ)遺》一書(shū)，收錄有陳炳良先生對(duì)本篇影評(píng)所做的中文翻譯，現(xiàn)引用如下，以供參考：
《萬(wàn)紫千紅》和《燕迎春》
《萬(wàn)紫千紅》(李麗華、嚴(yán)俊、王丹鳳主演。）
《燕迎春》（劉瓊編、導(dǎo)、演。）
《萬(wàn)紫千紅》所以能吸引觀眾，是在于它的“高級(jí)調(diào)情”的宣傳；但它卻天真得令人有點(diǎn)奇怪。李麗華飾演在一家景色怡人的古老歐洲式餐館里的漂亮而口齒伶俐的女侍。她出場(chǎng)時(shí)坐在一輛載滿了干草和農(nóng)產(chǎn)品的推車上，一面唱歌，一面無(wú)拘束地把蘋果擲向街上的兒童。她的歌，她的美，加上寶冢舞女，使她終于籌足了錢建一所孤兒院。
用慈善籌款來(lái)作為舉行娛樂(lè)表演的理由，是企圖緩和對(duì)藝術(shù)表演需求的一個(gè)常用的手法。但是《萬(wàn)紫千紅》并沒(méi)有使每個(gè)人都高興。在市民所愛(ài)看的小報(bào)上，有人指出《萬(wàn)》片不受歡迎的原因是因?yàn)樗f(shuō)教。他們抱怨李麗華只把她出名的玉腿呈現(xiàn)一次給觀眾，以后就半裹在皮裘里面。
在中國(guó)人眼中，寶冢的歌舞只表現(xiàn)青春的美好、健康，和合理的規(guī)律。對(duì)普通的中國(guó)人來(lái)說(shuō)，芭蕾舞的吸引力是在它的困難程度上。他們也覺(jué)得日本歌舞在銀幕上如果沒(méi)有服裝和背景的繽紛彩色，便很難明白。另一方面，觀眾對(duì)男女主角互相捉弄感到開(kāi)心——李麗華給她的追求者煎了些臭蛋，而他又送給她空的冰淇淋杯子。還有那對(duì)把廚房弄得一團(tuán)糟的中國(guó)萊路、哈地，也被觀眾所接受。雖然“萬(wàn)”片有著平平無(wú)奇的場(chǎng)景、軟弱的結(jié)構(gòu)，和成人與兒童口味的沖突，它對(duì)一般觀眾來(lái)說(shuō)仍是成功的。至于上面所說(shuō)的第三個(gè)缺點(diǎn)，我們可以不理，因?yàn)橹袊?guó)現(xiàn)在的成年人也和小孩一樣喜歡生日餅，不管它是否像在《萬(wàn)》片的慈善表演中一樣有舞女在旁邊團(tuán)團(tuán)轉(zhuǎn)。全片仿照好萊塢的Gold Diggers(注：華納兄弟1929年至1938年間發(fā)行的系列歌舞片，共五部)和它的續(xù)集The Big Broadcast(注：派拉蒙1932年至1938年間發(fā)行的系列歌舞片，共四部)，目的是要使觀眾做到對(duì)這兩部美國(guó)歌舞片的評(píng)語(yǔ)所說(shuō)的“眼睛吃冰淇淋，靈魂坐沙發(fā)椅”。
《燕迎春》發(fā)生了個(gè)更大的問(wèn)題。這部片子是由女學(xué)生偶像劉瓊用現(xiàn)代西式舞臺(tái)作為背景來(lái)編、導(dǎo)、演的。《燕》片在年輕知識(shí)分子中，有很多支持者。而它更大事宣傳，說(shuō)是被有批評(píng)眼光的觀眾所推薦。在片中劉瓊飾一個(gè)演員，他有機(jī)會(huì)演羅密歐和“茶花女”的亞孟。在另一場(chǎng)戲中戲里，劉的外國(guó)老人扮相也令人信服。他把拇指插在背心口袋里，像Lionel Barrymore(注：賴尼爾·巴利摩，美國(guó)奧斯卡影帝)—樣。片中主角靠咖啡的幫助去寫作和演出，而鏡頭就把興趣集中在閃閃生光的咖啡壺上。在困惱的時(shí)候，他就往酒吧買醉。貧窮時(shí)他到公園里做苦工。他的大衣陳舊，但裁剪合度，像一個(gè)外國(guó)的瀟灑流浪漢。他在公園里的生活，像永遠(yuǎn)在吃野餐和花很多時(shí)間在火堆旁邊沉思。
對(duì)受了四分之一世紀(jì)外國(guó)電影和小說(shuō)薰陶的中國(guó)年輕知識(shí)分子來(lái)說(shuō)，片中沒(méi)有多少是中國(guó)東西，這種情形是令人著惱的。這轉(zhuǎn)變已遠(yuǎn)遠(yuǎn)超過(guò)了洋務(wù)運(yùn)動(dòng)時(shí)所提倡的“中學(xué)為體，西學(xué)為用”了。
對(duì)外國(guó)愛(ài)情故事不經(jīng)批判的接受，這種和現(xiàn)實(shí)雙倍地遠(yuǎn)離的情況引起了不少問(wèn)題。在現(xiàn)代中國(guó)藝術(shù)和生活中，當(dāng)感情是真摯的時(shí)候，表情常會(huì)受到影響。劉瓊在《燕》片中無(wú)疑是誠(chéng)實(shí)的，尤其在他激動(dòng)地揭露貪婪的戲院經(jīng)理的真面目的時(shí)候。主角時(shí)常按照他新得到的合情合理的感覺(jué)去做事。當(dāng)意外地弄跛了他的腿以后，他覺(jué)得他會(huì)使妻子不快樂(lè)，便自己出走。在他給她帶有悲情的字條中，叫她不要找他，因?yàn)槟鞘峭絼诘?。稍看一下尋人廣告——“自你走后，母親不食不眠，祖母心臟病發(fā)，全家每日以淚洗面，速回家?！薄覀兛梢砸?jiàn)到三十不到的中國(guó)人很容易為了抽象的原則、家庭的糾紛、考試的失敗、文化的不適應(yīng)等而離家出走。在這世紀(jì)中，可能沒(méi)有一本書(shū)比易卜生(注：Henrik Johan Ibsen，挪威著名劇作家)的《傀儡家庭》(注：1879年創(chuàng)作的劇作，挪威語(yǔ)原名“Et dukkehjem”，英文譯名“A Doll House”或“A Doll's House”，中文又譯作“娜拉”或“玩偶之家”)所給予一般受過(guò)教育的中國(guó)人的影響更大。如同對(duì)其他從西方學(xué)回來(lái)的東西一樣，中國(guó)人對(duì)這劇本中娜拉的美麗而蒼涼的手勢(shì)所得的印象，較之它所包含的思想，更有興趣。 — 陳炳良 譯
前半段好看，后半段歌舞簡(jiǎn)直戳瞎雙眼。我就喜歡看小市民愛(ài)情故事，男主有點(diǎn)像詹姆斯斯圖爾特。特效也是極其感人大開(kāi)眼界的。
電影史課放。冗長(zhǎng)的歌舞戲不是歌舞片，強(qiáng)行加時(shí)
歌舞片部分對(duì)好萊塢的模仿簡(jiǎn)直巔峰造極！
again 對(duì)老電影無(wú)感 / 老師上課放這部5.4的片子真是無(wú)奈
2013.3.12，觀摩課。|2015.4.28，觀摩課。
過(guò)去的敘事邏輯怪怪的，都43年了，怎么還是這個(gè)水平。另外，動(dòng)作少，對(duì)白多，說(shuō)教性強(qiáng)，難道當(dāng)時(shí)觀眾還是像看戲似的看電影？最后，作為歌舞片來(lái)說(shuō)，視覺(jué)效果好，歌詞寫得也好，使用了特效，鏡頭語(yǔ)言比較豐富。
7，真是標(biāo)準(zhǔn)軟性電影，所有情節(jié)推進(jìn)和人物編排都服務(wù)于類型噱頭的奇觀化展示（本片當(dāng)中就是歌舞了），歌舞調(diào)度上明顯有借鑒和模仿好萊塢的地方，在通過(guò)類型完成吸引力輸出這方面，方沛霖?zé)o疑是此中高手，這種形式高度大于內(nèi)容、完全風(fēng)格化舞臺(tái)化的表達(dá)方式，無(wú)疑是被主張現(xiàn)實(shí)主義的左翼電影人所不屑和鄙夷的，但在類型片的發(fā)展史上，這種淪陷時(shí)期高度娛樂(lè)化的產(chǎn)物或許有著更為重要的意義。
資料館2013.3.12.1:15pm 缺失部分鏡頭，剩余時(shí)長(zhǎng)大約90多分鐘。日本的扇子舞和千手觀音，女主（李麗華）在結(jié)尾搭的景中的各種歌舞，加上女主在其中的好幾首歌（和男主莫明相愛(ài)的那首很好聽(tīng)），使影片幾乎可以被稱為歌舞片。表演上不夠自然，王丹鳳此時(shí)演技還沒(méi)大成。調(diào)和貧富矛盾，調(diào)和一切沖突。
意外挺好看的 在歡快中唱出犀利的歌詞 也許美麗的異鄉(xiāng)只是夢(mèng)一場(chǎng) 但還是不要放棄理想吧 非常隱晦的表達(dá)
現(xiàn)在看有點(diǎn)無(wú)聊，主要是歌舞，千手觀音這么古老
日據(jù)時(shí)期的印記，各種大日本帝國(guó)歌舞。還有我怎么覺(jué)得最后幾場(chǎng)歌舞有點(diǎn)cult的意思，請(qǐng)問(wèn)這在豆瓣算什么水平！
《萬(wàn)紫千紅》方霈淋1943日偽華影拍攝晨起運(yùn)動(dòng)中式小店，但吃的是西餐和西方的禮儀日本東寶歌舞團(tuán)，巫女舞男女主進(jìn)展太快了吧后廚歌舞鬧騰喜歡街上流浪的苦孩子，很有活力有點(diǎn)綠野仙蹤的味道歌舞場(chǎng)面華麗背景燈光：萬(wàn)紫千紅這一派歌舞升平（包括歌詞），莫不是歌頌的是日本統(tǒng)治下的“太平盛世”？前后不連貫
人生的偉大目標(biāo)不是虛空
很多國(guó)內(nèi)史論編著者將其標(biāo)榜為“反動(dòng)、落后”的偽滿影片，74分鐘里除了兒童化對(duì)白、錦衣繡口的鋪陳并非感覺(jué)到充滿所謂右派的保守，更多體味到的是親西化而非民族敘事。
模仿好萊塢的歌舞電影，挺可愛(ài)的
舞臺(tái)風(fēng)格與巴斯比伯克利
樸素的社會(huì)教化電影。歌舞戲太多且純屬風(fēng)情展示。
后面1/5是純歌舞了
劇情方面實(shí)在乏味，前半段還是都市戀愛(ài)故事，后面突然又變回了勸學(xué)行善的傳統(tǒng)教化意味上去。方沛霖對(duì)于歌舞真是狂熱愛(ài)好，各種安排還是很有意思，可是最后一段載歌載舞實(shí)在太長(zhǎng)，導(dǎo)致大家都昏睡過(guò)去了……
以為是一部愛(ài)情電影，結(jié)果是一部扶貧宣傳片。但話說(shuō)回來(lái)，如果在七十多年前走進(jìn)電影院，看一群年輕小姑娘又唱又跳這么久，確實(shí)還是挺舒服的。