那場戲，全家人和大女兒的男友的對話戲，1h39min30s，鏡頭、臺詞和表演都很值得學(xué)習(xí)。 “dirty”那句對德雷克太太的控訴是由兒子說出來的。

“如果你們養(yǎng)不起，就愛不了，不是嗎”（if you can't feed them you can't love them，can you）這句話是由男友說出來的，他家里六個孩子，以身說法。這句話觸動了兒子。

兒子在后面兩場戲用和父親的對話解釋了他這一行為——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，我要求你原諒她，你原諒她這件事，她會原諒你所有事（年少孟浪啊啥的），而且法律已經(jīng)懲罰過她了。潛臺詞，在我看來是，好的，你不是軍人嗎。那我就像你十三歲那年一樣，要求你，那時你答應(yīng)我了，抗下來了，現(xiàn)在你也必須抗住這些你最厭惡的東西。

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

然后，兒子去找母親和解了。這段的臺詞也特別好。

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

最后的判決，“對他人起嚇阻之效”，判了兩年零六個月。

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

感謝這個結(jié)尾，我的娘啊。

題外話環(huán)節(jié)。

因為最近看的快節(jié)奏的東西太多了，一些同理心和倫理感確實有所消亡。而這部電影，這種節(jié)奏緩慢的、人物豐滿的電影，就算討厭其中某一個人，都不會說出來，我不愿意傷害他們其中的每一個人。

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

我沒有那么喜歡這部電影，因為更多時候我還是需要一些強刺激的東西。但這部電影大概會成為我反復(fù)反復(fù)反復(fù)觀看的電影之一。

反人類發(fā)言：我覺得對于一些電影來說，從結(jié)尾看，往開場找原因，比從開場看更能領(lǐng)會其魅力。

德雷克太太真的是一個特別好的銀幕形象：圓圓的臉，一雙又藍又圓的眼睛，溫潤，通透，會說話一樣。皮膚白白的，“嬌小的女人，手很小”，柔軟。

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

今天上午還搜索著有沒有人造子宮的可能性來解救女性生育的痛苦。畢竟想要實現(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。要說這世界除了錢，就數(shù)性的問題最難辦。

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人以何種理由給他人流產(chǎn)。一個整日里無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。

到底誰做錯了，誰有罪？??

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，警察在法庭事無巨細描述維拉的墮胎工具，影片結(jié)束字幕出現(xiàn)“警局顧問、二戰(zhàn)顧問、醫(yī)療顧問“，我就知道，這是一個無一字無出處的“歷史小敘事”。再回味所有場景美工，人物設(shè)置，對話，無不異常嚴謹具有歷史代表性。此處下的硬功夫，堪稱一篇高水準(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“真實生動光暈”，以及創(chuàng)作者的當(dāng)下價值觀，就看TA如何“帶著鐐銬跳舞”了。

這是一個西方語境里異常復(fù)雜的議題。尤記得第一次親身經(jīng)歷這一沖突，是在2012年美國俄亥俄州奧巴馬競選現(xiàn)場。血淋淋的墮胎圖片被瘋狂的反對者吶喊著舉著堵在會場入口，讓來自“計劃生育”習(xí)以為常國度的我，瞠目結(jié)舌，趕忙補課。

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

整體表演非常NTLIVE，英國戲劇表演范兒。歷史背景下不同階層的身體、口頭語言，即是他們源遠流長的生活傳統(tǒng)，也是他們源遠流長的表演傳統(tǒng)（嗯，我們這里這一傳統(tǒng)一再打破），個個都是一流表演，導(dǎo)演也是在各個細節(jié)，于無聲處表達了清晰的態(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.