先接觸的是小說，被作者的文筆氣質(zhì)所吸引，湊巧推薦給小伙伴，然后小伙伴搜索便查閱到了關(guān)于同名小說的電影，找來一窺究竟，大失所望。

看到了三位各具特色，魅力非凡的女主與杰克·尼科爾森（閃靈男主），心生篤定，佳片算是穩(wěn)了，可萬萬沒想到的是，才開場看了半小時，就被電影劇情和對白的大量改動驚得外焦里嫩，都不知道說什么好了。

三位女主與小說中的角色對比而言，應(yīng)該是同步率很高的，可男主有些脫線，表演的太過突出，有些格格不入，感覺就他一個人全程高潮不斷，其他角色都成了配角，超夸張驚悚的表演有些get不到，不過視覺沖擊確實(shí)不俗。

小說與本片所表達(dá)的內(nèi)容可謂南轅北轍，完全不搭邊，懷著來欣賞具象化小說的小伙伴們可能要和我一樣鎩羽而歸了。

如果拋開小說再看電影，只能說一般，除了杰克·尼科爾森的搶眼表現(xiàn)外，特效、音樂都不是很出彩，倒是小鎮(zhèn)的選址，大棟別墅的場景是最忠于原著的?？蓜∏檎婢妥屓水a(chǎn)生嚴(yán)重不適，或許還是我個人原因占了主要因素，我滿懷期待的找到了它，可看完之后空留下諸多遺憾。

小鎮(zhèn)上，三個婚姻不幸的好閨蜜共同許愿，想要一個完美的男人。結(jié)果那個男人真的來了，不僅很有錢，而且有超能力，很快分別將三人俘獲，雖然起初閨蜜們相互吃醋，但都愛他愛得不可自拔。很快小鎮(zhèn)上出現(xiàn)了各種風(fēng)言風(fēng)語，但這個男人總能擺平。三人意識到他身上可怕的地方，決定離開他，卻遭到了他的報復(fù)。三人屈服于他，和他和好，然后暗中設(shè)計(jì)用古老的女巫方式將他送走，但是卻都懷上了他的孩子。三個閨蜜生下了他的孩子，在這座豪宅里開始了快樂的生活。

本來以為是個愛情倫理片，充滿男性想象，結(jié)果后半段直接成了CULT片，故事也變得簡單許多，三人和男主之間關(guān)系也沒有遞進(jìn)，能看出導(dǎo)演不想往深了講。片里，尼克爾森想要說服雪兒上床時，有一段對話，印象挺深刻的：

“我想和你上床?！?/p>

“謝謝你的坦白，我也盡量對你誠實(shí)，我認(rèn)為，不，我確定，你是我這輩子最不感興趣的男人。我們相處了一下午，你已經(jīng)示范了每一個男性身上的低劣品格，甚至更過，心理扭曲，肉體沖動，語言粗俗，無知、自私、愚蠢，品位低，格調(diào)低，對了，你還有體臭。你根本不夠格引起我的注意?！?/p>

“你喜歡在上面還是在下面?！?/p>

“再見?！?/p>

“這就是你感受到的？真的是你的感受嗎？”

“我要回家了。”

“有人在家嗎，有嗎，小孩會照顧自己，吃東西，上床睡覺，做功課，我保證他會的。打掃家務(wù)嗎，干凈了明天還會有更多的灰塵，鋪床，洗盤子，煮飯，明天還要做同樣的事情。你的寵物，你的針線活，你的手工……”

“這些正是我想做的?！?/p>

“假裝是你想做的？假裝成另一個人活著？你已經(jīng)這樣多久了，世界一天天變化，它回饋給你的是愿望落空，夢想流逝，你還能忍受多少。當(dāng)你小睡片刻，躺在床上，看著天花板，你意識清楚，渴望不一樣的事情發(fā)生，同時又猶豫著。時間是殺手，就現(xiàn)在，不要再等了，讓它成真，利用我吧，滿足我?！?/p>

一滴淚從女人眼眶滑落，轉(zhuǎn)身擁吻男人。

哈哈，這段話挺有意思的。表面上看，其實(shí)都是雙方相互間貼的標(biāo)簽和“偏見”，也正因?yàn)檫@種“偏見”異常的統(tǒng)一，使得兩人更有一種不謀而合的相配。當(dāng)兩人擁吻時，觀眾能夠明白，他們源自相互的理解，這更接近愛。

當(dāng)然80年代的臺詞放到當(dāng)下語境就不經(jīng)用了，一是因?yàn)檫@些年這類嘴上王者的人物形象有些泛濫，二來是女性力量的覺醒，排斥男性自上而下的審視。估計(jì)放到現(xiàn)在電影里，女人應(yīng)該是，“傻逼”，然后轉(zhuǎn)身離去。

The Witches and Eastwick(1987)和Bell, Book, and Candle(1958)都描寫了女性在一個社會中的斗爭，在這個社會中，規(guī)范的女性氣質(zhì)和巫術(shù)是 "社會構(gòu)建的女性特征 "的兩端。雖然兩部電影最初都是描寫職業(yè)女性（女巫），但社會塑造的欲望迫使她們做出不同的反應(yīng)，即要么順應(yīng)所謂的 "常態(tài)女性氣質(zhì)"，要么反抗所謂的 "常態(tài)女性氣質(zhì)"，最終導(dǎo)致吉爾為了家庭化的愛情生活而犧牲了巫術(shù)，而三個女巫則歡迎她們內(nèi)心的女巫組成了一個 "非傳統(tǒng) "的家庭。 在她們的掙扎過程中，正是每個時代的美國文化焦慮引入了 "理想規(guī)范的女性氣質(zhì)"，對女巫和女性起到了壓迫的作用。

兩部電影的女性角色都是以職業(yè)女性的身份開始，并且將自己的權(quán)力控制在手中。吉莉安是一個成功的女商人，經(jīng)營著自己的商店；亞歷山德拉-斯波福、簡-斯瑪特和蘇琪-羅格蒙特是一個雕塑藝術(shù)家、音樂教師和記者。在這個階段，她們都是和男人分開的。吉爾是單身，亞歷克斯、簡和蘇琪的丈夫不是死了，就是離了婚，或者拋棄了她們。然而她們所有的自我依賴狀態(tài)都無法持續(xù)太久。社會的壓力和焦慮襲來，通過插入與 "規(guī)范的、傳統(tǒng)的女性氣質(zhì) "的距離的恐懼，擾亂了她們的時代。對于吉爾來說，她對謝潑德產(chǎn)生了生理上的吸引，渴望愛情親情，渴望和他一起過著家常的生活。東域的三個女孩渴望感受到達(dá)里爾的力量，為她們提供自尊和關(guān)懷。從這里開始，所有的女巫都會把自己改造成一個有點(diǎn)性的女巫，"都是華麗的，做著邪惡的事情"(吉布森99)，比如吉爾迷倒了謝普，三個女巫讓自己被達(dá)里爾勾引，對基督教女子費(fèi)利西亞施咒。即便如此，這兩部電影的結(jié)局也是截然不同的。對于吉爾來說，女巫是毫無顧忌的，也是由缺乏典型的女性屬性來定義的。"不能臉紅，哭泣或戀愛"（吉布森92）。吉爾墜入愛河，放棄了自己的巫術(shù)能力，成為 "唯一的人類"，以一個 "被安全馴化的性感女巫"(92)結(jié)束影片。相反，亞歷克斯、簡和蘇琪則與魔鬼達(dá)里爾反目成仇，他們重新獲得了巫術(shù)的能力，并將他趕走，故事的結(jié)尾是 "和他們（和他）的新寶寶一起生活在一個幸福的公共家庭"(99)，這是一種非傳統(tǒng)的生活。

《鐘、書、燭》的時代背景是50年代，這個時代的勞動?jì)D女剛剛通過埃莉諾-羅斯福對婦女事業(yè)的推動獲得了社會地位的提高。然而，這個后珍珠港時代又充滿了來自父權(quán)社會的期望，希望 "女性會很高興回到廚房和育嬰室"(Gibson 92)。女性想要獲得權(quán)力，但她們還是害怕成為 "激進(jìn)分子 "的后果。在影片中，當(dāng)吉莉安試圖向謝普坦白她的巫術(shù)時，他開玩笑說 "你是不是一直在從事非美國的活動？"，她回答說："沒有，我想說的是，我的巫術(shù)很厲害。"（吉布森92）。"不，我會說很美國"(93)。這可以理解為女巫吉爾害怕被冠以共產(chǎn)主義者的稱號，是出于恐懼的反應(yīng)。女巫與伊斯維克》的背景是80年代，一個在里根主義下保守主義加劇的時代。開頭包括學(xué)校的發(fā)言人指責(zé)離婚率暴漲和拉客的孩子的現(xiàn)象。對于像伊斯威克這樣的保守小鎮(zhèn)，一個靠近塞勒姆的小鎮(zhèn)，曾經(jīng)舉行過女巫審判，任何輕微的異常都會受到鄰居的監(jiān)視。三個女人的情況最初符合巫術(shù)的理由：（守寡、多子、不孕）。她們在潛意識中意識到自己作為女性的 "不正常"，并受到性壓抑，導(dǎo)致后來她們參與了達(dá)里爾的勾引。因此，我認(rèn)為，是美國的社會文化焦慮，將 "理想的常態(tài)女性氣質(zhì) "寓于其中，對女巫和女性起到了壓迫的作用。

Both The Witches and Eastwick(1987) and Bell, Book, and Candle(1958) depicted women's struggles within a society where normative femininity and witchcraft are on the two ends of the spectrum of "socially constructed female traits". While both of the films initially depicts working woman(witches), their socially shaped desires force them to react differently, that is either conform to or rebel against so-called "normative femininity", eventually leading Gil sacrificing witchcraft for domesticated love life, and the three witches welcoming their inner witch forming an "untraditional" family. During their struggles, it is the American cultural anxieties in each era that introduced "ideal normative femininity", acted as oppression on witches and females.

Both films begin with female characters as working women and have their own power controlled in hand. Gillian being a successful businesswoman, running her own shop; Alexandra Spofford, Jane Smart, and Sukie Rougemont being a sculpture artist, a music teacher, and a reporter. At this stage, all of them are separate from men. Gil being single, Alex, Jane, and Sukie's husbands either died, divorced, or discarded them. Yet all of their self-dependent states couldn't last long. The social pressure and anxieties come in, disturbed them through inserting fear of distancing from "normative, traditional femininity" during their eras. For Gil, she becomes physically attracted to Shepherd, desires love affection and a domesticated life with him. Three girls from Eastwick yearn to feel empowered by Daryl, providing them self-esteem and care. Starting from here, all witches transform themselves into a somewhat sexualized witch, "all gorgeous and doing evil"(Gibson 99), like Gil enchanting Shep and three witches allowing themselves to be seduced by Daryl and casting a spell against Christian woman Felicia. Even so, these two films have drastically different endings. For Gil, witches were without scruple, and also defined by a lack of typically feminine attributes: "could not blush, cry or fall in love"(Gibson 92). Gil fall in love, abandoned her witchcraft abilities to be the "only human", closing the film with a "sexy witch safely domesticated"(92). Contrarily, Alex, Jane, and Sukie turn against the Devil Daryl, they re-acquired their power to bewitch and drive him away, and end the story living in a "happy communal family with their (and his) new babies"(99), a non-traditional life.

Bell, Book, and Candle is set in the '50s, an era in which the working women who just gained a raise of social status through Eleanor Roosevelt's promotion of women’s cause. However, this post-Pearl Harbor era was filled again with expectations from a patriarchal society, hoping that" women would be glad to get back to the kitchen and the nursery"(Gibson 92). Women wanted to gain power, still, they were afraid of the consequence of being "radicals". In the film, when Gillian tried to confess her witchcraft to Shep he joked ‘Have you been engaging in un-American activities?’, to which she replied: "no, I’d say very American"(93). This could be read as Gil the witch terrified of being titled with communist, a reaction out of fear. The Witches and Eastwick is set in the '80s, an era with Increased conservatism under Reaganism. The opening includes a spokesperson of the school accusing the phenomenon of divorce rates skyrocket and latchkey kids. For a conservative town like Eastwick, a town near Salem where the Witch Trials were once held, any slightest abnormality would be under neighbours' surveillance. The three women's conditions initially fitted into the justification for witchcraft: being widowed, having many children, and being infertility). They were aware of their "abnormality" as females subconsciously and were sexually repressed, causing their engagement with Daryl's seduction later on. Therefore, I argue that it is American social and cultural anxieties that fabled "ideal normative femininity", and acted as oppression on witches and females.