片名中有婚禮這詞，就大概能猜到肯定是家庭drama。我對(duì)外語(yǔ)片比較少關(guān)注，所以原版《婚禮之后》當(dāng)年作為外語(yǔ)片時(shí)入圍了奧斯卡最佳外語(yǔ)片，但我也沒(méi)看過(guò)，非常不好意思。這也是為何我覺(jué)得好的故事還是有必要翻拍成英文的，因?yàn)檎娴暮芏嗳硕枷裎乙粯?，很排斥看有字幕的電影，特別是drama類(lèi)型，因?yàn)榭吹煤芾?，并可能?huì)因?yàn)樽帜粵](méi)跟上而無(wú)法理解得很透徹。這個(gè)故事是沒(méi)有文化和語(yǔ)言局限性的，所以翻拍成英文版完全沒(méi)有水土不服。

本片將原版兩個(gè)男主變成了女性其實(shí)不僅符合故事本身的設(shè)置，也在當(dāng)今也更符合現(xiàn)實(shí)。早前故事中的富翁是男的，藝術(shù)家是女的，是很傳統(tǒng)的設(shè)置，但如今女性企業(yè)家那么多，朱莉安摩爾在片中出演的創(chuàng)業(yè)者很有說(shuō)服力，不僅干練，也有溫柔母性的一面，讓故事最終的感情升華更為真實(shí)動(dòng)人。米歇爾威廉斯出演的老師更是適合女性，這個(gè)角色充分展示了一個(gè)曾經(jīng)不夠成熟的女孩在長(zhǎng)大后的轉(zhuǎn)變。兩個(gè)角色都塑造得很出色，特別是摩爾張弛有度的表演更為亮眼。導(dǎo)演也是朱莉安摩爾的老公，可謂給自己的老婆量身定做。

不劇透具體劇情，這個(gè)故事我最喜歡的地方是，它從頭到尾都在說(shuō)一件事：不要在太年輕、不成熟的時(shí)候倉(cāng)促地結(jié)婚生孩子，這樣可能會(huì)導(dǎo)致你做出更加不負(fù)責(zé)的決定。而女性在這事兒上做出錯(cuò)誤選擇的可能性更大、付出的代價(jià)也更大。悲慘的例子咱們見(jiàn)得太多了，電影里、新聞上、身邊。。。不勝枚舉。所以在看了這么多之后，干嘛還要在乎什么專(zhuān)家說(shuō)的25歲-28歲適合生育？如果你是自己人生的編劇，應(yīng)該知道如何避免悲劇收?qǐng)觥?/p>

我一直覺(jué)得，人，在不同階段要做不同的事，不能只考慮生理上的發(fā)展和需求，那樣豈不是與低等動(dòng)物沒(méi)區(qū)別了？畢竟我們與一般動(dòng)物的區(qū)別就在于除了生育，我們還有更多的精神上、物質(zhì)上的需求，對(duì)自身的要求也更高。也因此，有些年輕女孩如果很早就生孩子，因?yàn)闊o(wú)法實(shí)現(xiàn)自身的追求和理想，內(nèi)心就會(huì)不平衡，久而久之，真的會(huì)抑郁，也會(huì)容易做出更不負(fù)責(zé)的決定。說(shuō)白了就是因?yàn)椴桓市模桓市娜松瓦@樣早早被束縛了。希望那些依然堅(jiān)持30歲前一定要生孩子的人，要看看這部，是一部非常適合讓人冷靜下來(lái)，考慮自己人生追求的電影。特別是女人。

人生很多事兒都可以犯錯(cuò)吸取教訓(xùn)再重來(lái)，但是生孩子不行，生了就塞不回去了，所以慎重、慎重、再慎重。一定要等你可以成為一位負(fù)責(zé)的母親時(shí)再生，也是對(duì)孩子負(fù)責(zé)。

看到爛番茄上給負(fù)評(píng)的都是男性，因?yàn)檫@部電影其實(shí)更針對(duì)的是女性觀眾，自然女性觀眾也會(huì)更有共鳴，特別是那些喜歡This is Us這類(lèi)家庭drama的觀眾。

一個(gè)普通的劇情片，我居然看哭了，有孩子的人太容易代入了。我覺(jué)得我是很不怕死的人，因?yàn)槲姨峦纯嗔耍⒆映闪四莻€(gè)我唯一不敢死的人，說(shuō)真的我甚至想如果是Theresa這樣的大富豪死了也就死了吧，孩子也不能受苦，我這樣的窮人才更不敢死。Grace和Isabel都責(zé)怪Oscar這個(gè)點(diǎn)，我也有點(diǎn)不能同理，但是和配偶討論了一下他認(rèn)為是會(huì)生氣的，因?yàn)椤安荒艽媪硪粋€(gè)人做決定”，我嘲笑他你倒是西化得快。但這真可能是東西方文化差異，按照東方人的理解養(yǎng)育之恩如此了得，哪還敢責(zé)怪一個(gè)默默承擔(dān)了這么重的責(zé)任的人？況且如果被親生父母拋棄孩子不知道得多苦呢。但是對(duì)西方文化來(lái)說(shuō)，可能很多事情的重要性排序不是這樣的，比如承諾、誠(chéng)實(shí)之類(lèi)的更重要，而被收養(yǎng)的孩子也不意味著就失去被愛(ài)的可能，父母的養(yǎng)育之恩也是本份不是什么恩重如山，要是這么理解，Oscar接回Grace確實(shí)只能說(shuō)他非常自私并且欺騙了兩個(gè)人，而Grace與他和解也是因?yàn)榛ハ嘀g深厚的感情而不必感激父親沒(méi)有拋棄她。

一個(gè)母親，養(yǎng)育了8歲的雙胞胎和她老公在婚前就有的一個(gè)女兒。

然而，面對(duì)病情和即將來(lái)臨的死亡，她需要為他們作出一些安排，而她認(rèn)為最妥善的安排是找到繼女的親生母親，讓新媽媽重新維系起這個(gè)家。

幸運(yùn)的是，繼女的親身母親至今沒(méi)有婚姻，在印度從事孤兒養(yǎng)育的慈善事業(yè)，急需善款。所以，這位母親能想到是將公司賣(mài)了，將她的財(cái)產(chǎn)成立了一家基金會(huì)，委托繼女的親生母親管理，提出的條件就是她需要留在美國(guó)。

在撒她的骨灰時(shí)的畫(huà)面中，繼女的親生母親在為雙胞胎中的其中一個(gè)孩子拉直衣領(lǐng)，我想的是，這個(gè)母親已經(jīng)為她逝去之后，給予她的家人們最好的安排。

有多少人可以做到這樣理智的安排？應(yīng)該很難吧……

Hollywood’s remaking business is always a mug’s game (whether of its own repertoire or foreign tongue goodies), even for an actor with the caliber of Julianne Moore (with a track record including PSYCHO 1998, CHLOE 2009, CARRIE 2013), who has to scrape the recycled barrel to get new projects financed, which may pointedly signal the hemorrhage or deficiency of women-savvy scribes in the Tinseltown, and leave the current situation much to be desired.

After her terrific turn in Sebastián Lelio’s self-reflexive remake GLORIA BELL (2018), Moore’s following acting gig is another one, AFTER THE WEDDING is an American adaptation of Susanne Bier’s 2006 Danish Oscar Best Foreign Language Film nominee of the same name, and this time, her hubby Bart Freundlich is the writer and directer, his 7th feature (four of which starring Moore).

Thanks to an over-a-decade time-span, this reviewer only retains a rather vague memory of Bier’s original (save that Mads Mikkelsen and Sidse Babett Knundsen are brilliant in it!), which turns out to be a blessing to retain the suspense of the plot. Apart from the location and nationality change and the with-it gender swap, Freundlich’s remake follows closely to Bier’s storyline. Isabel (Williams), an American who has expended most of her life in running an orphanage in Calcutta, India, is requested to meet a potential benefactor, the multi-millionaire entrepreneur Theresa Young (Moore) in New York, who is considering donating millions to Isabel’s strapped institution. Isabel is casually invited to attend the wedding of Grace (Quinn), Theresa’s 20-year-old daughter, only to be wrong-footed when she realizes that she is Grace’s biological mother, and Grace’s artist father, Oscar (Crudup) is her ex-lover, who reneges from their consensual decision to send their newborn baby for adoption, and without informing Isabel, he raises Grace on his own, and later marries Theresa.

So after the wedding, what comes next, a funeral perhaps? It doesn’t require much deliberation to smell the manipulation behind this sheer coincidence, in spite of Theresa plays “I didn’t know” card as naturally as possible, and the movie’s Taiwan title can be literally translated as “Can you marry my husband?”, that comes as a dead giveaway of the twist, also prompted by Theresa’s obsession with an empty bird nest with broken eggshells. In time, her arrière-pensée can no longer be concealed and once her cards are laid in the open, the conundrum falls onto Isabel, leaving her lifelong endeavor in India, not to mention her strong connection with a local orphan boy Jai (Pachisia) and returning to New York, living on the easy street with her own daughter with millions of funds under both’s names, Theresa’s offer is too munificent to decline, and Isabel’s final capitulation seems like a missed opportunity to upgrade the treacle-like story to something more urgently resonant, since the white savior scenario is no longer popular anymore, the disenchantment and struggle of an idealist should have been the cynosure.

As a melodrama, AFTER THE WEDDING disproportionately hinges on the two female performers here, Moore juggles dexterously between a loving mother (including a trademark bawling confession) and a sharp-edged business woman (teeing off on her secretary is a go-to option to show Theresa’s diva side), and the movie is at its best when Moore plays off with an equally excellent Williams, who emphatically refuses to dial down Isabel’s skepticism in the face of a bolt out of blue and suspicious windfalls, also sends off her indignation by doffing her shoes (a knee-jerking reaction reflecting the world she lives in), their blunt-versus-peremptory interplay attests why we love to watch actresses trying to upstage each other if they are granted a stage together.

Crudup is ever so apt in supporting his two leading ladies and puts on a mask on Oscar’s own agenda, only betrays it in small gestures with both frustration and compassion, whereas newcomer Abby Quinn’s Grace is laden with the most dramatic happenstances (getting married, then regretting it, her birth mother, whom she reckons is dead, cropping up out of nowhere, plus bad tidings of an impending bereavement), but not enough content to underset them, save a daunting love-gushing moment that can be easily read as cringe-worthy, Grace should have been the most conflicted character, but the film doesn’t give her enough credit, as I said, it is a mug’s game and AFTER THE WEDDING has no distinction to break that curse.

referential entries: Susanne Bier’s AFTER THE WEDDING (2006, 7.3/10); Freundlich’s TRUST THE MAN (2005, 6.1/10).

雙強(qiáng)女主的文藝片，等了好多天的EN字幕。女主作為闖入者，帶著觀眾視角，一步步揭開(kāi)扎心真相的歸國(guó)之旅，前半程極具張力。

Diane Kruger本來(lái)要演，但檔期不匹配，Michelle Williams接棒。美國(guó)戲前半程牛逼，單拎出來(lái)可以給8分，后面就水掉了。

扎心了老鐵。

不得不現(xiàn)身的要錢(qián)的活兒，結(jié)果碰上親生女兒的婚禮，句句錐心

逃離現(xiàn)場(chǎng)，不想和這里的歡喜沾上一點(diǎn)關(guān)系

原來(lái)是18歲母親跟男友一起決定放棄孩子撫養(yǎng)但男友變卦了，親媽?xiě)K淡的內(nèi)心啊

和閨女單獨(dú)見(jiàn)面后，心中烏云散去；一起喝茶追憶女兒成長(zhǎng)相冊(cè)后，澎湃的配樂(lè)

互相捅刀子的女人啊，Michelle Williams可以?shī)W斯卡女主角提名了

女兒的眼神像shailene woodley

大家的評(píng)論都已經(jīng)指出，的確人設(shè)混亂，有點(diǎn)是硬傷（原著是“”一女兩男“”），放棄女孩，婚禮上又發(fā)現(xiàn)親身女兒，產(chǎn)生故事矛盾，但是演員配置上、顏值、演技上非常出彩，尤其是三位主人公（兩女一男）在廚房爭(zhēng)吵的那一段，非常精彩，很真實(shí)，代入感很強(qiáng)，連續(xù)看了5遍，尤其是男主，保護(hù)現(xiàn)任妻子，對(duì)過(guò)去女友吼的那一句“dont' talk to her like that” 還有“idon't owe you anything”，以及“you said in my face...”那一段，句句深入，真實(shí)、激烈、一點(diǎn)不浮夸，尤其是對(duì)于一個(gè)之前沒(méi)有看過(guò)原著的人來(lái)說(shuō)，這里的“答案”至少是“合理”了，基本上邏輯順了，演員的表現(xiàn)和張力給力，是功勞，給90分，代入感非常強(qiáng)；另外好幾處的細(xì)節(jié)非常棒，非常好，女主最開(kāi)始，吃藥、助理敲門(mén)說(shuō)預(yù)約體檢、強(qiáng)烈要求必須要求女二本人回紐約面談，其實(shí)是想讓她參加親身女二的婚禮，等已經(jīng)埋下了伏筆，細(xì)節(jié)做得很到位，一點(diǎn)不刻意；關(guān)于演員配置：女兒的善，面相的純，和女二真有血緣香；另外，男一的顏值很帥，眉毛濃厚，最出彩的是他的眼睛，充滿(mǎn)了自信、積極、迷人、樂(lè)觀（唯一小缺點(diǎn)：肩膀有點(diǎn)窄，耷拉肩膀），不過(guò)總的來(lái)說(shuō)，演員顏值上、配置上非常棒了。至于演技上，真的很棒，不信的大家可以親自去看一下了，注意細(xì)節(jié)、演技?。。╬s，我同意前方說(shuō)的一句話(huà)，美國(guó)電影，前半部80分，沖的很厲害，后半部有點(diǎn)松散，因?yàn)楣适旅芤呀?jīng)產(chǎn)生、代入感已經(jīng)完成，后半部就平平淡淡走穩(wěn)路線就可以了）