我不认为这部电影是Woody Allen很认真的讨论、表达或者是提问的电影
比如《安妮霍尔》,伍迪艾伦开场的独白可以说是他想借人物表达的东西,他对爱情的理解(每个人都需要鸡蛋),他对人生的态度(这么难吃还给的这么少)《曼哈顿》结尾处那句“have a little faith”可以理解为他对自己的忠告
在这种作品中我们可以看到他在清晰而认真的表达,he means it
但是我觉得不应该用这种方式解读这部电影
比如,从真实和虚假的角度解读:
The movie is so cheerful and open that it took me a day or two, after I’d seen it, to realize how deeply Allen has reached this time. If it is true, and I think it is, that most of the time we go to the movies in order to experience brief lives that are not our own, then Allen is demonstrating what a tricky self-deception we practice. Those movie lives consist of only what is on the screen, and if we start thinking that real life can be the same way, we are in for a cruel awakening. ——rogerebert
从爱情的角度解读(也可以说是从对“自我”的理解这个角度来解读):
But in one of Woody Allen's interesting twists, he has Shepherd fall in love with Cecilia. It's a nice little comment on the nature of love, that who we fall in love with is something that's decided at the core of who we are. —— 100 films
这样的解读都有过度解读的嫌疑,因为我个人觉得,导演并没有在讨论什么,甚至可以理解成一个简单的浪漫而伤感的故事
从手法的角度来解读可能更有意义
伍迪艾伦是那么喜欢打破观众和演员之间的举例,《安妮霍尔》里他直接拉着和他吵架的男人走到镜头前跟观众说理,剧本《中央公园西路》中他让剧本的作者突然出现,和剧中的角色聊了一会儿,然后又回去把剧本写完了,这部电影更是直接将整个故事都建立在演员的出逃上
从这个角度来解读,比强调一部本身就极具多义性的影片某一方面的情感意义要更有力

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