那場(chǎng)戲，全家人和大女兒的男友的對(duì)話(huà)戲，1h39min30s，鏡頭、臺(tái)詞和表演都很值得學(xué)習(xí)。 “dirty”那句對(duì)德雷克太太的控訴是由兒子說(shuō)出來(lái)的。

“如果你們養(yǎng)不起，就愛(ài)不了，不是嗎”（if you can't feed them you can't love them，can you）這句話(huà)是由男友說(shuō)出來(lái)的，他家里六個(gè)孩子，以身說(shuō)法。這句話(huà)觸動(dòng)了兒子。

兒子在后面兩場(chǎng)戲用和父親的對(duì)話(huà)解釋了他這一行為——他十三歲就參軍了，他當(dāng)然黑白分明，不理解世事。父親則說(shuō)，我要求你原諒她，你原諒她這件事，她會(huì)原諒你所有事（年少孟浪啊啥的），而且法律已經(jīng)懲罰過(guò)她了。潛臺(tái)詞，在我看來(lái)是，好的，你不是軍人嗎。那我就像你十三歲那年一樣，要求你，那時(shí)你答應(yīng)我了，抗下來(lái)了，現(xiàn)在你也必須抗住這些你最厭惡的東西。

夾在這兩場(chǎng)戲中間的那場(chǎng)戲也很好：夫妻倆在床上說(shuō)，可憐的孩子，他還太黑白分明，不問(wèn)世事。寥寥幾句，那種父母對(duì)孩子的愛(ài)和無(wú)奈都出來(lái)了。最后德雷克太太還是很難過(guò)地哭了，和丈夫抱在一起——這段戲之后，你就知道丈夫背負(fù)著什么，下一場(chǎng)戲，你就特別希望兒子原諒母親。

然后，兒子去找母親和解了。這段的臺(tái)詞也特別好。

1h47min的圣誕節(jié)戲也很好。前面墊了兩場(chǎng)那個(gè)金發(fā)女人的對(duì)維拉的糟糕反應(yīng)，她甚至還哭得很委屈，所以氛圍其實(shí)很糟。但大女兒的男友卻說(shuō)，這是最好的圣誕節(jié)，謝謝維拉。他吃了一顆維拉遞過(guò)來(lái)的巧克力。這場(chǎng)戲就結(jié)束了。

最后的判決，“對(duì)他人起嚇阻之效”，判了兩年零六個(gè)月。

真的拍了監(jiān)獄戲……另一個(gè)溫和的阿姨問(wèn)德雷克太太，那個(gè)女孩死了嗎？德雷克太太：死了還得了？另一個(gè)阿姨：我的女孩死了。而且還有一個(gè)冷硬的太太，和那個(gè)溫和的阿姨都是再犯。所以這個(gè)女人會(huì)再犯的吧，會(huì)再犯嗎？

感謝這個(gè)結(jié)尾，我的娘啊。

題外話(huà)環(huán)節(jié)。

因?yàn)樽罱吹目旃?jié)奏的東西太多了，一些同理心和倫理感確實(shí)有所消亡。而這部電影，這種節(jié)奏緩慢的、人物豐滿(mǎn)的電影，就算討厭其中某一個(gè)人，都不會(huì)說(shuō)出來(lái)，我不愿意傷害他們其中的每一個(gè)人。

當(dāng)然你看，這故事里的一些元素可以用到商業(yè)故事里。一家兩個(gè)孩子，姐姐那樣，弟弟那樣，其實(shí)是英式的喜劇效果，可以拿去用。但是那些人物壞的地方，真的必須要給解釋?zhuān)荒茈S便拿去用。

我沒(méi)有那么喜歡這部電影，因?yàn)楦鄷r(shí)候我還是需要一些強(qiáng)刺激的東西。但這部電影大概會(huì)成為我反復(fù)反復(fù)反復(fù)觀(guān)看的電影之一。

反人類(lèi)發(fā)言：我覺(jué)得對(duì)于一些電影來(lái)說(shuō)，從結(jié)尾看，往開(kāi)場(chǎng)找原因，比從開(kāi)場(chǎng)看更能領(lǐng)會(huì)其魅力。

德雷克太太真的是一個(gè)特別好的銀幕形象：圓圓的臉，一雙又藍(lán)又圓的眼睛，溫潤(rùn)，通透，會(huì)說(shuō)話(huà)一樣。皮膚白白的，“嬌小的女人，手很小”，柔軟。

另一個(gè)對(duì)于法理問(wèn)題的思考：歐美法系愿意從“善因論”來(lái)思考問(wèn)題，是不是由于他們的善意真的是從圣經(jīng)上批發(fā)下來(lái)的，然后圣經(jīng)的解釋又可以隨著時(shí)代做出不同解說(shuō)啊……我這樣說(shuō)可能過(guò)于偏頗。但我的意思是，他們需要有個(gè)東西在那里，才能去反另一樣?xùn)|西。如果沒(méi)有一個(gè)東西在那，他們想象不到好的也想象不到壞的。他們其實(shí)會(huì)被一些抽象的“善”打動(dòng)，所以才出現(xiàn)“善因”這么個(gè)東西。

今天上午還搜索著有沒(méi)有人造子宮的可能性來(lái)解救女性生育的痛苦。畢竟想要實(shí)現(xiàn)男女平等，就跨越不了女性在生理特征方面的特殊性。

早前追著有著深層次矛盾的電影看，現(xiàn)在冷不防的看到vera好心辦壞事最后得到懲罰的結(jié)局，心里也好似便秘一般，憋悶悶的。要說(shuō)這世界除了錢(qián)，就數(shù)性的問(wèn)題最難辦。

電影發(fā)生在二戰(zhàn)后，失足少女們甚至是不少已婚婦女選擇墮胎，可法令明確不允許個(gè)人以何種理由給他人流產(chǎn)。一個(gè)整日里無(wú)償為鄰里奔忙臉上笑哈哈的老婦人被判監(jiān)禁兩年半，手術(shù)是她做的，溫柔安慰需要幫助女生的也是她。

到底誰(shuí)做錯(cuò)了，誰(shuí)有罪？??

正在看三聯(lián)新刊《我們與歷史的距離》，里面講到大歷史、小歷史敘事。

此片后半段，警察在法庭事無(wú)巨細(xì)描述維拉的墮胎工具，影片結(jié)束字幕出現(xiàn)“警局顧問(wèn)、二戰(zhàn)顧問(wèn)、醫(yī)療顧問(wèn)“，我就知道，這是一個(gè)無(wú)一字無(wú)出處的“歷史小敘事”。再回味所有場(chǎng)景美工，人物設(shè)置，對(duì)話(huà)，無(wú)不異常嚴(yán)謹(jǐn)具有歷史代表性。此處下的硬功夫，堪稱(chēng)一篇高水準(zhǔn)歷史學(xué)術(shù)研究。在此基礎(chǔ)上如何表現(xiàn)歷史及人物的“真實(shí)生動(dòng)光暈”，以及創(chuàng)作者的當(dāng)下價(jià)值觀(guān)，就看TA如何“帶著鐐銬跳舞”了。

這是一個(gè)西方語(yǔ)境里異常復(fù)雜的議題。尤記得第一次親身經(jīng)歷這一沖突，是在2012年美國(guó)俄亥俄州奧巴馬競(jìng)選現(xiàn)場(chǎng)。血淋淋的墮胎圖片被瘋狂的反對(duì)者吶喊著舉著堵在會(huì)場(chǎng)入口，讓來(lái)自“計(jì)劃生育”習(xí)以為常國(guó)度的我，瞠目結(jié)舌，趕忙補(bǔ)課。

導(dǎo)演將這一難題轉(zhuǎn)換為“幫助女孩兒們”。一個(gè)不知道父親為何人苦出身樸實(shí)善良苦已有些神性的女主，加上她的典型的英國(guó)底層漸漸走出二戰(zhàn)陰影有信仰價(jià)值觀(guān)清晰的幸福家庭，凸顯了她的行為面對(duì)不同階層、不同狀態(tài)女性共同困境時(shí)的正當(dāng)性。要知道，同時(shí)期（1950年代）的巴黎，丈夫再施虐，妻子也無(wú)法獨(dú)自獲得離婚，只能采取極端手段但結(jié)果卻是入獄（見(jiàn)本次電影節(jié)《曼妙旅程》的描述）

整體表演非常NTLIVE，英國(guó)戲劇表演范兒。歷史背景下不同階層的身體、口頭語(yǔ)言，即是他們?cè)催h(yuǎn)流長(zhǎng)的生活傳統(tǒng)，也是他們?cè)催h(yuǎn)流長(zhǎng)的表演傳統(tǒng)（嗯，我們這里這一傳統(tǒng)一再打破），個(gè)個(gè)都是一流表演，導(dǎo)演也是在各個(gè)細(xì)節(jié)，于無(wú)聲處表達(dá)了清晰的態(tài)度。

Film Review by Frederic and Mary Ann Brussat

For many years now, English filmmaker Mike Leigh has explored the lives of the working poor with unflinching honesty and an uncanny ability to respect his characters' idiosyncrasies and the feisty ways they struggle to survive against the odds. In this incredibly moving film, he hits high stride in his career and delivers a masterwork that is all of one piece. The ensemble performances are remarkable for their realism; production design accurately conveys the dark alleys and shabby apartments of poor neighborhoods; and the string score by Andrew Dickinson is tender and evocative.

The film is set in London in the early 1950s. Vera Drake (Imelda Staunton) lives with Stan (Phil Davis), her husband of 27 years. She is a domestic who cleans the houses of well-to-do ladies; he works as a mechanic in a shop run by his brother Frank (Adrian Scarborough). They have two grown children, both still living with them in their small tenement flat: Sid (Daniel Mays), a gregarious apprentice tailor, and Ethel (Alex Kelly), a shy factory worker.

Vera, as her husband puts it, has a heart of gold. Although she has plenty of household chores on top of her job, she finds time to regularly visit two shut-ins, one of whom is her cranky mother. Vera, who hums methodically, is a cheerful person who believes that a special grace in life is to savor a good cup of tea, no matter what the occasion. Noticing that Reg (Eddie Marsan), is a lonely fellow, she invites him over for dinner. Everyone in the family is pleased when he takes an interest in Ethel.

Another aspect of her care and compassion for others is her secret mission to help poor pregnant women who are not willing or able to give birth to a child. She works closely with Lily (Ruth Sheen), a friend since childhood, who sells household goods on the black market and finds women seeking abortions. These poor girls, married women with too many children and wives who have gotten in trouble, have no choices other than to throw themselves on the mercy of Vera, who does not charge them anything for her loving ministrations. Their lack of options is contrasted with the situation of Susan (Sally Hawkins), the daughter of one of the rich women Vera works for. After she is raped on a date and becomes pregnant, she sees a private doctor and a psychiatrist who arrange for a calm and safe abortion at a discreet clinic for a substantial fee.

Vera's secret missions of mercy come to an end when a young woman she treated develops life-threatening complications. The police find out about Vera and Lily and are swift to apprehend them (abortion wasn't legalized in England until 1967). Much to Vera's dismay, this all takes place on the same day that they are celebrating the announced wedding of Reg and Ethel. Frank and his materialistic wife Joyce (Heather Craney) are at the party with them. Their good news that Joyce is pregnant gets lost in the confusion when the police arrive and question Vera. Anger and shock are two of the emotions experienced by Stan, Sid, and Ethel when they learn the secret Vera has kept from them for nearly 20 years.

When was the last time you saw a movie that focused on the compassion and genuine goodness of a person who doesn't live for herself but always puts others first? Look no further. Mike Leigh has created an emotionally resonant drama around the little acts of kindness that all the world's religions agree is at the center of what it means to be a fully developed human being. Vera accepts the punishment that is meted out to her, but then many good and self-sacrificing individuals have suffered for what they believe in without complaint. Vera Drake is one of the best films of 2004, and Mike Leigh is to be commended for making a hero out of a kindly woman who does her best to help the less fortunate around her.