（一）古印第安式的宗教信仰
        印第安人認(rèn)為萬物有靈，死去的人將以另一種狀態(tài)存在于世上。電影中多次出現(xiàn)娜査、艾連娜的亡靈，女主蒂娜家的狗在蒂娜媽媽艾連娜的靈魂出現(xiàn)的時(shí)候狂吠，男主拜德羅在花園提議與蒂娜私奔師那只狗沖出來追隨他們，以及蒂娜與二姐柔絲在后院吵架時(shí)她家的雞互相追逐，鍋里的菜豆拒絕被煮熟等等情節(jié)都體現(xiàn)了這一點(diǎn)。
（二）墨西哥人注重吃的拉美飲食文化
        影片中出現(xiàn)大量墨西哥特有的美食文化，婚禮、生日、日常、新年，不同場合吃的東西都有所不同，影片中廚房中制作美食的場景和隨后的宴會(huì)貫穿了整個(gè)故事，徹夜準(zhǔn)備婚宴、花費(fèi)大量時(shí)間精力烹制每一道食物都體現(xiàn)出墨西哥人對吃的注重。
（三）注重他人看法、家族利益優(yōu)先的集體主義文化
       電影中蒂娜的母親艾連娜、二姐柔絲非?？粗屑易迕u(yù)不惜犧牲自己小女兒的幸福，對于事情的第一關(guān)注點(diǎn)在于他人怎么看自己，所以艾連娜與柔絲都要求堅(jiān)持“小女兒不能出嫁而要服侍自己直到去世”的傳統(tǒng)，這兩個(gè)角色是落后傳統(tǒng)文化的迂腐繼承者，從始至終都不曾質(zhì)疑傳統(tǒng)的合理性。蒂娜雖然在遭遇與摯愛被迫分開、心愛的外甥死去等一系列痛苦的事情后成為落后傳統(tǒng)的反抗者，但她的反抗也是不徹底的，是被生活逼出來的。集體主義文化中，造就了她懦弱，善良的性格，從出生到死去都在為家庭利益貢獻(xiàn)自己：服侍一家人起居、照顧柔絲的孩子、幫助外甥女爭取幸福，即便，她總是不自知地把家庭集體、把他人利益至于自己的利益至上，所以她拒絕拜德羅提出的私奔，即便在她母親死后也不愿奪回拜德羅，在姐姐死了，外甥女結(jié)婚，每個(gè)人都有了幸福后她才想到自己，才和拜德羅正式在一起，而壓抑多年的愛情太過激烈，一把引燃了兩人生命中的全部火柴，只留下耀眼的光芒與燃盡的殘骸。
（四）男權(quán)主義、家長權(quán)威不可侵犯的大權(quán)力距離文化
       在影片中女主母親艾連娜是家里的一家之主，她壓制著所有人，無論是對于家里的仆人還是自己的女兒都永遠(yuǎn)一副命令的語氣，不予親近。影片中雖然沒有很多筆墨描寫男權(quán)主義，但在宴會(huì)上艾連娜跟神父說要讓拜德羅和柔絲搬走時(shí)，神父回“家里總要有個(gè)男人”，他們搬走后果然家里出了事艾連娜意外死去，輕描淡寫中即傳達(dá)出了當(dāng)時(shí)男人被看做是家里頂梁柱庇護(hù)者的男權(quán)觀念，同時(shí)拜德羅當(dāng)初為接近女主而娶女主姐姐的荒謬邏輯竟沒有人覺得不對，他結(jié)婚后在家里成天無所事事什么都不做，人們默認(rèn)男人都是對的，男人不能做“女人做的閑雜事務(wù)”也反映了當(dāng)時(shí)男人地位比女人高很多的狀態(tài)，人。這些都是當(dāng)時(shí)社會(huì)整個(gè)文化下權(quán)力距離極大的特點(diǎn)。
墨西哥現(xiàn)在仍有少部分人堅(jiān)持一些愚昧傳統(tǒng)習(xí)俗，如父母示超過17歲還沒嫁出的女兒為私人物品隨意贈(zèng)人等。
（五）情緒文化
      不同于受東方文化影響的中國屬于中性文化，起源于南美洲文化的墨西哥文化在強(qiáng)皮納斯的文化架構(gòu)理論中屬于情緒文化。影片中大部分人的情緒都是外露的，比如拜德羅與蒂娜雙方愛情的流露、情感表達(dá)，娜査、今查對女主蒂娜的疼愛心疼等情緒都是直接流露出來的，人物的悲傷與同情一系列情緒都直接表現(xiàn)出來，即便是努力克制自己情緒維持自己形象的傳統(tǒng)家長艾連娜，在大女兒赫露蒂斯離家出走后會(huì)悄悄去女兒房間哭泣，在得知孫子死訊的時(shí)候，眼神掩藏不住努力壓抑的深刻的悲傷離家出走后會(huì)悄悄去女兒房間哭泣。而沒受傳統(tǒng)思想束縛的其他角色則表現(xiàn)得更直接更直白。
（六）不斷發(fā)展的具有多樣性和包容性的文化（印第安文化、歐洲文明、美國個(gè)人主義文化萌芽）
       因曾遭受入侵，有過一段殖民統(tǒng)治時(shí)期，墨西哥常住人口有印第安土著人、歐洲移民、美國人等，各種習(xí)俗文化沖突碰撞融合，呈現(xiàn)出多種文化共存。艾連娜和柔絲的顯然是印第安傳統(tǒng)文化的完全繼承者，但同時(shí)也有個(gè)人主義的萌芽，她們在家族利益之后考慮的便是個(gè)人利益，所以她們完全不考慮蒂娜的權(quán)利、不關(guān)心她們的親人；蒂娜的大姐蒂斯奔放熱情，瀟灑自由，注重事情的本質(zhì)結(jié)果而不考慮中間其他人或是其他理由，沒有成為傳統(tǒng)的居家婦女而是行軍打仗豪爽直率，則有歐洲人的影子，反映出一定的歐洲文化；蒂娜做著傳統(tǒng)婦女的事情，但她在生活的逼迫下漸漸認(rèn)清愚昧落后的傳統(tǒng)害人不淺，奮起反抗，最終讓傳統(tǒng)在她這里終結(jié)，代表著文化的發(fā)展更替，個(gè)人主義的萌芽。


個(gè)人感悟：
       整部影片帶著魔幻主義色彩，融合了各種元素：生活、習(xí)俗、文化、飲食、情感，很多人對蒂娜和拜德羅的愛情悲劇印象最深，而我們在觀看中印象最深的卻是女主母親艾連娜給女主帶來的傷害，無法理解一個(gè)母親怎么可以對自己的女兒殘忍至此，同時(shí)也無法理解女主為什么不一開始就反抗，為什么不反抗得更徹底一些，然而冷靜下來一想，這都是沒辦法的事，她們都是那個(gè)文化大背景的產(chǎn)物，這是由不得她們的，如果不這樣，那艾連娜就不是艾連娜，蒂娜就不是蒂娜，《濃情巧克力》也不是這個(gè)《濃情巧克力》了。盡管就個(gè)人（蒂娜和拜德羅）而言結(jié)局是悲劇式的，但就整個(gè)時(shí)代整個(gè)社會(huì)卻是進(jìn)步式的（愚昧的傳統(tǒng)被打破）。整個(gè)社會(huì)就是在前人的努力與犧牲下才逐步發(fā)展成今天的樣子的，而今天的我們終究也將成為“前人”，社會(huì)也因此得以不停發(fā)展進(jìn)步。
       最后分享一下影片中個(gè)人最喜歡的一段話，是備胎醫(yī)生John的祖母曾說的：“我們每個(gè)人誕生之初，體內(nèi)都有一盒火柴，我們需要氧氣和蠟燭來點(diǎn)燃它，只不過對我們?nèi)藖碚f，氧氣不是憑空而來的，比如說它來自愛人的呼吸，燭光則可以是任何東西——一首曲子、一句暗語、一個(gè)親昵的愛撫、甚至細(xì)微的聲音，總之什么都可以，只要可以觸發(fā)燃點(diǎn)，然后點(diǎn)燃火柴。我們每個(gè)人都需要尋找屬于自己的燃點(diǎn)，因?yàn)橹挥悬c(diǎn)燃我們生命中的火柴，才能讓我們的靈魂得以滋養(yǎng)?！痹复蠹叶寄苷业阶约旱娜键c(diǎn)，點(diǎn)亮自己生命的火柴。

照舊，三年前的文字。已經(jīng)不能全權(quán)代表我對電影的理解和對愛情、生活的理解了，但放在這里，以回顧一下從前自己的視角，也是有意義的。



Como agua para chocolate (Like Water for Chocolate) is a novel written by Laura Esquivel. Published in 1989, it was a long-running best seller in Mexico. (Shaw 37) It remained over a year on the best-seller list of the New York Times and was translated into twenty-nine languages. (Shaw 37) In 1991, Mexican film director Alfonso Arau, also Laura’s husband, decided to adpat the best-seller a film. Then Como agua para chocolate turned out to be the most commercially successful Mexican film of the 1990s. (Shaw 37) However, the high gross of the film did not give a true impression of the state of the Mexican film industry. (Shaw 38) In 1990s, low-quality genre films relying on sex and violence prevailed the national film market in Mexico. (Shaw 38)
The film does not reflect a true picture of Mexico either. Following the government’s model of public and private investment, involving Aviasco (a Mexican airline) and the Ministry for Tourism, the film “promotes a conservative, romantic image of rural Mexico that would please the Ministry of Tourism and that belied the reality of mass poverty and ever increasing urbanization.” (Shaw 39) “It is represented as a rural land, which has maintained its culinary and social traditions.” (Shaw 51) The director has commented “the government is very grateful because the film did a great job in promoting tourism and the image of Mexico”. (Shaw 39)


From Novel to Film
Como agua para chocolate tells the story around the Garza family during the Mexican Revolution (1910-1917). (Lopez-Rodriguez 62) In the ranch ruled by the family, Mama Elena makes decisions for her three daughters—Gertrudis, Rosaura, and Tita—regardless of their own desires. (Lopez-Rodriguez 62) Both the novel and the film begin with Esperanza’s (Tita’s niece) careful reading of an inherited cookbook from Tita, and it brings back the memory of the Garzas. Tita is born on the dinner table in the kitchen in 1910. She is brought up by the family servant Nacha in the kitchen, where she learns her talent in cooking. As the youngest daughter of the family, Tita is destined to care for Mama Elena till the last second and is prohibited to marriage. However, in a family dinner, young Tita met a young man, Pedro Muzquiz. They soon fell in love with each other and claimed each other as the only love in the life. Pedro proposes to the Garzas, but Mama Elena turns it down. Instead, Pedro marries Tita’s sister Rosaura in order to be near to Tita. While Mama Elena keeps tormenting Tita, Tita confines herself in the kitchen, making all the delicious and creative dishes for the family. Magically, her emotion is blended into every dish she makes and has the ability to influence everyone who tastes the food she makes.
In Esquivel’s novel, the story is presented as a cookbook, sequenced with twelve months, with a recipe for each month. The twelve recipes each conclude a chapter, carrying special historical and ethnic implications within the ingredients and the procedures. Although the loving way the camera focuses on food makes clear to the film audience that food is a central character in this story”, the film shifts away from the original structure of the novel and brings the storyline without recipes as separation. (Lopez-Rodriguez 63) Many detailed dishes mentioned in the novel is only given a glimpse in the film, or even omitted, while the other ones are described carefully with the camera language. For instance, the February recipe of capones (capons) and the April recipe of mole de guajolote con almendra y ajonjoli (turkey in almond and sesame sauce) are both cut from the plot, and caldo de colita de res (oxtail soup) and tortas de Navidad (Christmas rolls) are only provided with the simplest description. The several recipes Alfonso Arau focuses on are pastel Chabela de bodas (Chabela wedding cake), codornices en petalos de rosa (quail in rose-petal sauce) and chiles en nogada (chili peppers in walnut sauce). Coincidently, two of these three dishes are specially made for the two weddings in the film, and each brings out a different effect. The emphasis of food in the film and the implications of the recipes will be explored later in the essay.
The rest of the story continues in a traditional way. Rosaura soon delivers a baby, and Tita uses her virgin breast milk to feed her. After finding out the vaguely unbroken relationship between Tita and Pedro, Mama Elena sends Pedro and Rosaura away, as well as the baby. Away from Tita, the baby dies, and the reason is believed to be the food. Tita goes insane and hides herself in the dovecote until John Brown, the ranch doctor, picks her up to his house. John takes care of Tita and helps Tita to reconstruct the confidence to face life. Determined to start a new life, Tita accepts John’s proposal. The moment Tita and Pedro reunite on the ranch, both of them know that their passion for each other does not go away. The day John leaves the ranch they have an affair. As a husband, John is always so understanding and tolerant. He forgives the adultery. At the end of the film, John drives car away for business. Pedro takes Tita to the barn house. In the house, the ghost of Nacha appears and lights every candle in the house. In the soft yellow light, Pedro and Tita’s love “finally blossom”. (Hart 172) Metaphorically indicated by the narrator, “all the matches inside Pedro’s body light at the same time”, and the brightness brings him to the eternal of peace. Tita begins to swallow matches, with the memory involving Pedro and her flashing back. She catches fire from the inside meets Pedro in the tunnel to eternity of love.
As the script written by the author of the novel, the film is able to retain the original flavors. The story is kept as original, and with the help of visual language, the film can do what the words cannot do. It puts imagination into reality on screen as well as transforming the story into a sumptuous Mexican feast.


Food in Como agua para chocolate
As “an important topic in the field of cultural materialism”, food is able to “bring to the forefront those elements of life that were traditionally overlooked because they belonged to the domestic sphere and not to the public, broader, male sphere.” (Lopez-Rodriguez 66) Many directors apply food as a medium to convey the meanings. In Ang Lee’s Eat Drink Man Woman, food is a mirror to Chinese culture and ideology. In Lasse Hallstr?m’s Chocolat, food is a gifted creation of magic potion to cure the lagging and obstinacy of the town residents. In Sandra Nettleback’s Bella Martha, food gives a place for communication and enables people to know each other.
In Como agua para chocolate, Alfonso Arau puts tons of emphasis on food. Food plays the central role artistically and commercially. Preparation for food is provided close-up features in the film. The scenes are treated with tenderness and sequential details. Lighting, music and narratives accompanies to strengthen the emotions implicated by the scenes. More than visual enjoyment, the recipes also connect the characters and the storyline. Conclusively, the use of food generally serves functions in four dimensions: as a tag of identity, a language of communication, an expression of creativity and freedom, and an eye into Mexican society in revolutionary and contemporary period. It also offers a space for the story to turn into a magic realistic fairytale.

Language of Expression
Food is a metaphor for emotion throughout the film. Gifted as a very sensual woman, Tita is “repeatedly portrayed tasting, seeing, smelling, touching, and hearing. It is only logical that she communicates through an activity that comprises all the senses.” (Lopez-Rodriguez 68) At the time when Tita and Pedro firstly fell in love, Tita described “Pedro’s gaze on her shoulders” as “what raw dough must feel when it comes in contact with hot oil”. “Bubbles break out of her body”. The medium of food solidifies abstract feelings in Tita’s world, and Tita is able to resort to expressing her feelings through the creation of delicacy in the limited area of kitchen. In the kitchen, food is translated into a new language. In the film, Tita’s recipes are always related to whatever is happening to her at the time. One of the scenes is that in which Tita prepares the quails in rose petal sauce. Right after “Pedro has given her the roses to congratulate her on her excellent culinary skills on the anniversary of her first year as the house cook, and she uses them in defiance of her mother in this dish.” The cooking process is split in sequential details—peeling of rose petals, bundling the quails, grinding rose petal sauces, and adding a drop of mysterious seasoning—representing as an expression of her love for Pedro. “This scene is accompanied by lush piano music that highlights the connection between romance and the culinary process.” (Shaw 51) Here, “cooking is Tita’s way of telling him what she cannot vocalize.” (Lopez-Rodriguez 69)
Realizing the possible communication between Pedro and her through food, Tita feels “compelled to create more and more recipes that will keep alive the love” that Mama Elena and Rosaura had tried to prohibit. (Lopez-Rodriguez 69) “It is this need to create or re-create delicious dishes that moves Tita to put in writing all the recipes she has received from Nacha; that is how their cookbook is born.” (Lopez-Rodriguez 69)

Territory of Freedom and Creativity
We can understand that the kitchen offers Tita an area of “unrestricted freedom” to escape from Mama Elena’s tyranny. (Shaw 50) In the kitchen, Tita is given a free voice to express herself, a territoriality for creativity. (Lopez-Rodriguez 67) Mama Elena tries to control everything of Tita, restricting her from marriage according to the old convention that the youngest daughter should care for mother till death. But her power is limited outside the kitchen. Due to the lack of culinary experience, she never tells Tita what to cook and how to cook, so cooking provides “an outlet for the creativity Mama Elena is always restraining.” (Lopez-Rodriguez 68) So here Tita finds “a means of self-definition and survival”. (Lopez-Rodriguez 66)
“The liberation through food and cooking is not limited to Tita alone, but also occurs for the people who eat her meals.” (Lopez-Rodriguez 68) In Tita’s territory, her emotions evoked by personal experience are also transferred to others through food. “She feels and she makes others feel.” (Lopez-Rodriguez 69) When blending the flour and eggs for making Rosaura and Pedro’s wedding cake, Tita unintentionally drops a tear into the ingredient. It turns out that during the wedding reception, whoever has a bite of the cake, is reminded of the sorrow of lost love. In an old Spanish love ballad, a sense of melancholy and frustration from “l(fā)ove of their lives” spreads through every guest and the scene culminates in a collective of vomiting. “Uncontrollable outbursts of pleasure, sadness”, which is usually forbidden in the ranch, is let free with the help of Tita’s food. (Lopez-Rodriguez 68)

Kitchen as An Eye
Esquivel has pointed out in an interview: “the kitchen, to me, is the most important part of the house. It is a source of knowledge that generates life and pleasure.” (Hart 173) Como agua para chocolate offers a “feminine kitchen-eye’s view of those turbulent years during Mexican Revolution (1910-1917), which is “at odds with the masculinity rhetoric of the history books with their emphasis on battles and the struggle for civic power.” (Hart 173) “The film, in its content, including modernization, the increase of social inequality, and the growth of feminism. This can be seen in the way that it ignores all of these issues and reinvents the past in such a way as to negate social history. The image of Mexico sold to national and international audiences through the film are filled with nostalgia for a mythical past. In this reinterpretation of the past, gender roles are clearly delineated, class and ethnic tensions are ignored, and nobody goes hungry.” (Shaw 39)
The cookbook received by Esperanza is an essential clue in the film. It connects different races and cultures in the film and “symbolizes not only the loving relationship among women but also the preservation of Nahuatl heritage and its mixture with Spanish and Ceole elements”. (Lopez-Rodriguez 70)
“Nacha and Chencha, members of ethnic minorities, have been denied by the dominant white upper class the possibility of expressing their knowledge through any medium other than the recipes they cherish. By passing the recipes on to the next generation they are not only able to communicate some practical information but to preserve elements of an indigenous culture that would otherwise be lost.” (Lopez-Rodriguez 69)

Construction of Fairytale
Labeled as magical realism, Como agua para chocolate is consisted of numerous fantastic scenes beyond reality and a bunch of fairytale traditions. The main roles in the film have their counterparts, which can be found in traditional fairytales. The romantic heroine Tita is like Cinderella, arduous and kind, while at the meantime suffering the inequality caused by a wicked mother, Mama Elena. Tita is so talented as a maternal role model that she even knows how to deliver the baby. “Bound to the kitchen from the moment of her emblematic birth in this very same room, Tita is treated first by her mother and later by Rosaura as just another servant.” (Lopez-Rodriguez 67) The setting even parallels with the story of Cinderella. John Brown, the fiancé of Tita, is the benevolent, careful and tolerant doctor that can be found in many 18th century fairytales as a positive figure without imperfection. In Como agua para chocolate, his tendance heals Tita’s sorrow for love and his great breath of mind forgives the adultery between Tita and Pedro. Nacha and Chencha are the servants who are satisfied with the status of being ruled and have a loving relationship.
Moreover, besides the setting of the roles, the strange alchemical reaction brought by food and the abrupt passion of people all tell the story in the language of fairytale.



Reference:
Ching, Eric, Christina Buckley, and Angelica Lozano-Alonso. Reframing Latin America. Austin: University of Texas P, 2007. 286-305.
Como Agua Para Chocolate. Dir. Alfonso Arau. Perf. Marco Leonardi, Lumi Cavazos. Videocassette. Buena Vista Home Video, 1992.
Esquivel, Laura. Como agua para chocolate: novela de entregas mensuales con recetas, amores y remedios caseros. México, D.F.: Editorial Planeta Mexicana, 1989.
Esquivel, Laura. Like Water for Chocolate: a Novel in Monthly Installments, with Recipes, Romances, and Home Remedies. Trans. Carol Christensen and Thomas Christensen. 1st ed. New York: Doubleday, 1992.
Halevi-Wise, Yael. "Storytelling in Laura Esquivel's Como agua para chocolate." The Other Mirror: Women's Narrative in Mexico, 1980-1995. Ed. Kristine Ibsen. Westport, Connecticut: Greenwood P, 1997. 123-130.
Hart, Stephen M. A Companion to Latin American Film. Woodbridge: Tamesis, 2004. 171-178.
Lopez-Rodriguez, Miriam. "Cooking Mexicanness: Shaping National Identity in Alfonso Araus Como agua para chocolate." Reel Food. Ed. Anne L. Bower. New York: Routledge, 2004. 61-73.
Segovia, Miguel A. "Only Cauldrons Know the Secrets of Their Soups." Velvet Barrios: Popular Culture& Chicana/O Sexualities. Ed. Alicia G. Alba. New York: Palgrave Macmillan, 2003. 163-178.
Shaw, Deborah. Contemporary Cinema of Latin America: Ten Key Films. New York: Continuum, 2003. 36-51.


April 6, 2008

A mi me gusta mucho esta pelicula,se trató de una historia sobre el amor . pero no estoy de acuerdo con la idea de Pedro, es injusto para su esposa...

   很多年前，在《前沿》上看到這部影片的大概，《前沿》使我們那兒地方臺(tái)一個(gè)專門介紹電影的節(jié)目，我還記得那個(gè)主持人叫海洋，成都的豆瓣們應(yīng)該都看過吧，那個(gè)節(jié)目開始的時(shí)候我覺得很好很好，在那個(gè)電腦還不屬于我的時(shí)代（我當(dāng)時(shí)讀初中，BT和迅雷根本是啥都不知道，大概當(dāng)時(shí)還沒迅雷吧，螞蟻？我覺得上網(wǎng)就是看一下網(wǎng)頁就很了不起了）起碼讓我看到了各鐘題材的電影，商業(yè)的也好，冷門的也好，對我以后看各類電影和愛看電影奠定了基礎(chǔ)，扯遠(yuǎn)了，不過再說一點(diǎn)呵，那個(gè)節(jié)目因?yàn)榻榻B各類電影，所以播的片子好多都是盜版碟，不過沒辦法嗎，因?yàn)檫@個(gè)節(jié)目介紹的都是搶在國內(nèi)上映之前或是根本就不上映的，當(dāng)然只有盜版碟（有正版也不會(huì)買，那個(gè)年代租影碟的鋪?zhàn)佣伎勘I版碟賺錢了，正版太貴了?。枪烙?jì)后來收視率太高了，節(jié)目引起關(guān)注了，節(jié)目首先開始縮水，到后來銷聲匿跡了～～，遺憾啊。。。
說了這么多，結(jié)果沒一句正題的，其實(shí)我就是想說事隔多年，一直對這部片子念念不忘，就是因?yàn)樗哪Щ锰傲?，現(xiàn)在魔幻電影到處都是，一片泛濫，人家阿方索都玩過了的，還有就是阿方索把人的欲望融入食物當(dāng)中，但是又是非常直白的表示出來了，大膽！欲望使一切都變得有魔力，包括食物情感，死亡，命運(yùn)以及宿命。

這是一部1992年的電影，但是電影傳達(dá)的內(nèi)涵卻一點(diǎn)兒也不落伍。
看之前，簡介說這是一部帶有魔幻色彩的電影，可能平時(shí)看了一些科幻電影，看了這個(gè)也沒太大感覺。
印象最深的就是，在電影后半部分，有一幕Tina在樓上看男主角唱歌，突然她的媽媽的幻影出現(xiàn)了，怒斥她和男主角的行為，有違道德倫理，也是不尊重自己的行為。Tina沒有屈服于對于媽媽呵斥的恐懼，大聲說出我有權(quán)利選擇我想要的生活。說完這句話她的媽媽就消失了。我很贊同Tina勇于追求自己想要的生活，但是她的行為，事實(shí)上我個(gè)人感覺也是不太妥當(dāng)。為了自己的幸福，犧牲了她姐姐的一輩子，而且做的確實(shí)是有違倫理道德的行為。她的姐姐雖然沒有她漂亮，但是如果找一個(gè)合適的丈夫也是可以安穩(wěn)的過上自己的生活，雖然可能沒有Tina的愛情純粹轟烈，但是她也有權(quán)利擁有她的生活，追求屬于她的幸福啊。沒有愛情的人就該當(dāng)做別人愛情的犧牲品嗎？這點(diǎn)我真的不能接受。
在影片的最后，男主和女主相擁跳舞的時(shí)候，男主在女主的耳邊說，我們花費(fèi)了太多時(shí)間去在意別人的看法了，應(yīng)該追求我們想要的生活。這個(gè)觀點(diǎn)我是贊同的?，F(xiàn)實(shí)生活中，我也經(jīng)常會(huì)遇到這樣的矛盾，是該遵循自己的想法，還是去平衡別人的心理，照顧別人的感受?？墒牵诂F(xiàn)實(shí)生活中我是一個(gè)比較在意別人感受的人，所以有時(shí)候會(huì)違背自己的真實(shí)意愿?？墒?，想要純粹的按照自己的想法來也是不太可能的吧，，就像影片里的行為，如果是我的話我是會(huì)拒絕的，最后我很可能會(huì)選擇和那個(gè)醫(yī)生在一起。這個(gè)片子可能有些太純粹了，因?yàn)樗麄円恢笔怯袗矍?，可是沒有真正的在一起生活過，他們因?yàn)橛性谝黄鸬淖璧K，所以他們會(huì)有比較齊的心氣兒，有種要突破世俗在一起的念頭。但是如果他們真的在一起，一起生活，還真的會(huì)這么順利嗎？
生活中應(yīng)該很多事情是需要權(quán)衡的吧，我們有權(quán)利追求自己想要的生活，但是也要在一定范圍內(nèi)來追求。需要感性也需要理性判斷。
女主還有一點(diǎn)，類似于廢除了陋習(xí)的勇氣，她們家族的那個(gè)傳統(tǒng)真真的是一個(gè)陋習(xí)，不就相當(dāng)于毀掉了一個(gè)人的一生了嗎，不能出嫁，一輩子侍奉母親，還不能有自己的事業(yè)自己的生活。
這個(gè)片子給我最大的感受就是廢除陋習(xí)，勇于追求屬于自己的權(quán)利，追求自己想要的生活。個(gè)人感覺還有個(gè)附加條件，要在一定的范圍內(nèi)，我是不太喜歡這種犧牲了另一個(gè)人的幸福的愛情，有本事你一直獨(dú)守著或者私奔啊。恩！二女兒是比較欣賞的，她不就類似于私奔了去尋找自己的幸福自己的生活了嗎。個(gè)人感覺如果按照二女兒的性格應(yīng)該是不會(huì)出現(xiàn)女主角的這種愛情故事了~
另外，劇中女演員們的身材真的很好，我不知道我看的是不是有刪減了的，裸露的鏡頭并不多，但是二女兒洗澡那一段，健碩豐裕的身材真的很性感，很有生命力~