天涯何处觅知音

《To Eternity》(william wordsworth 华兹华斯) What though the radiance which was once so bright Be now for ever taken from my sight, Though nothing can bring back the hour Of splendor in the grass, of glory in the flower We will grieve not, but rather find Strength in what remains behind. 曾经那么辉煌美丽的景色 从我的眼前永远地消失 再也没有灿烂的阳光 壮美的草原， 和艳丽的花朵 没有悲伤， 我们会从 现有的一切汲取力量。

1.开会的时候，主讲人提到了这个电影，好奇，于是下载下来看。

2.整体感觉不怎么地，原来外国也拍烂片。

3.女主长得真美。到现在才发现大眼睛的姑娘都那么好看。男主很帅气，虽然有点眉压眼，但是我喜欢他雕塑般的脸。

4.这个悲剧是怎么造成的呢？我认为是父母的错。青春期的孩子身体心理都在急剧变化着，青春期是孩子从少年走向成年的关键时期。这时候的父母应该多关心孩子，和孩子敞开心扉的交谈，了解孩子的所思所想，而不是总是关注着自己的事业；多倾听少教导，倾听孩子的心声，了解孩子的烦恼，为孩子排忧解难，而不是一味地无意识地给孩子压力，逼迫孩子；从小培养孩子的抗压能力。写到这儿，才发现这是一个教育片。

5.这个悲剧发生在美国经济大萧条时期，这个电影侧面表现出了当时人们的经济生活。

6.电影最后女主从精神病院返回家中，母亲向女儿间接道歉那个桥段，特别煽情，感动，但是女儿精神病很大一部分原因是父母对孩子缺乏关心导致的，煽情也掩盖不了父母的责任。人都不是生下来就会做父母的，但是这不是理由，你可以看书，可以学习提升自己啊。

7.结尾，这么好的一对璧人，最后却没有在一起，让人唏嘘。这种令人感伤的结尾，更能深化父母要多关注孩子心理成长的主题，引人深思，也衬托出女主可怜可悲的性格，男主无情冷酷的性格（为什么娶了别人）。

8.这个电影很色，总是亲啊亲，不喜欢。青春期就总想这个吗？不学习不生活了吗？

9.为什么男主想上耶鲁大学就能上，他学习也没多好啊，因为是体育特长生吗？

10.他父亲大男子主义，经受不了挫折，股票跌了，就跳楼自杀，真庆幸他死了，要不这个儿子也会和姐姐一样沦落至死。

如题。电影主要描述了两个家庭。男主的家庭是暴发户，父亲整天像打鸡血一样亢奋，一心把儿子送进耶鲁大学，然后再培养成家族企业接班人。儿子比较朴实，只想安静地做个美男子，对资本主义不太感兴趣，反倒是受到“广阔天地大有作为”的影响，一心想去农村种地。另外还有个女儿未婚先孕，性格越发叛逆。女主的家庭则是个普通家庭，母亲是个老封建，热衷于给女儿洗脑。两人的爱情故事就发生在这样的背景下。

哦对了，女主还有个绿茶同学，虽然是60年代老茶但比起最近两年新茶味道一点不差。和男主睡到了一起。基本就是这么个韩剧的关系。

Two teenagers falling in love in Kansas 1928, Deanie and Bud (Wood and Beatty) are the ne plus ultra of high school sweethearts, he is a jockey born with a silver spoon, she is as lovely as a storybook princess, both parents are quite content with their pairing, then why, in Kazan’s SPLENDOR IN THE GRASS, apart from the fallout of the imminent and fateful Crash of 1929, their lives will be permanently scarred, and both opt for a settling-for-less middle ground.

As incisive as Kazan’s brand constantly boasts, here the bane is sexual repression and the bigotry from the moral majority, Bud is eager to marry Deanie as he can barely keep his libidinous urge in check, while Deanie, dinned into behaving like a “good girl” by her mother (Christie, giving the performance of her lifetime here, brings so much deeper pathos and affection from a conventional mother figure, and completely subverts our usual question: is she a good or bad mother? Her quiddities can be applied to more than a generation of women and then some, and her insularity is a sign of the times), is fretted by whether or not she should “go all the way” with the boy she madly loves. Also, the prevailing double standard between different sexes plays a crucial role to drive them apart, as a male, Bud has an easier solution to his problem, all he needs is the help of a different kind of girl, but his self-seeking conduct terminally disturbs Deanie, pushing herself to the extreme and she is sent away to a psychiatric institution.

Since then, their paths only converge in the end, and Inge’s Oscar-winning script considerately conceives a more auspicious direction for Deanie, albeit the mental distress, she recovers and finally can make her peace with Bud, and her family fares much better in the aftermath of the financial catastrophe than Bud’s. Also Wood unequivocally delivers her best performance ever, Deanie’s vulnerability and anguish are elicited to an electrifying effect through her all-pouring commitment, though Wood still feels insecure to deglamorize her screen persona, however, under the tutelage of Kazan, that sense of insecurity becomes a bonanza which pointedly characterizes Deanie’s own plight. Wood looks particularly heartbreaking during the treacherous drowning scenes, we all know her blamed tragedy, that really casts a pall here.

Beatty, in his film debut, already struts his stuffs which will make him a movie star, his Bud is virile, seductive, but also unpretentious, a quality soon will desert him as he matures and his star is rising. Here, Beatty’s most astounding act is actually neither with Deanie, nor with Bud’s overbearing and paternalistic father (played by a gimpy Hingle blasting every line into our cochlea with maximal volume, a pyrrhic victory of acting for my money, though I would appreciate someone who could be less forceful), but the dramatic charge between Bud and his promiscuous sister Ginny (Loden), the black sheep of the family, who rebels in the most radical, tactless, self-destructive way. But being the member of the weaker sex, Ginny can never win, she is the victim of a phallocratic society, which makes the scene where she slaps Bud in the face such an instance of emotion-packed effusion, Loden, who was romantically involved with Kazan at that time, is also uncompromisingly baring it all to audience’s utter amazement.

Festooned by David Amram’s richly boisterous jazz soundtrack, and albeit the eye-rolling adults-playing-teens factitiousness, Kazan’s SPLENDOR IN THE GRASS is a searing social drama full of hearts, theatrics and delectation, it potently reminds us the fight against human bigotry, sexism and paternalism is a never-ending battle, and we shall never let up.

referential entries: Kazan’s WILD RIVER (1960, 7.5/10); Robert Mulligan’s LOVE WITH THE PROPER STRANGER (1963, 7.7/10).

在一个显现给定物的目的的照耀下给定物得以显现。这个给定物是所指，目的是能指。

——拉康

我受了极大的感动，不是像一些受了感化的家长那样由于电影最终的内容，而是由于卡赞对于一切方面的处理中美得无法形容的virtuosity。这部电影的所指（符号学上来说）异常简单，而且被意识形态所充满——那些拥抱意识形态的人感觉不到它——这使得电影注定不完全协调并像本雅明或阿多诺喜欢指出的那样使能指（目的之目的）超过了所指（目的）。（目的万岁！）

非常值得研究——也就是说这并不是一个奇迹——卡赞如何优雅地将现代主义注入a. 充满后设的历史框架中的叙事[1]，b. 美国式的小资产阶级主题。在每个方向[2]这种现代主义都得到了加以恰当的发展，汇总于希区柯克式的高潮，最后在漫长而至少得当的第三幕像一首斯卡拉蒂奏鸣曲的第二部分那样转回主调。这部电影完全可以用《煤气灯下》年代的技法拍摄，然而在此之上卡赞能够毫不违和地加入大量新事物，他（和演员）的敏锐感受力使他在这一方面甚至能比尼古拉斯·雷做得更为全面。就像海顿：得当之上的天才几乎随处可见，Ginny舞会上在门外一群人面前停下来的令人心碎的场景，Deanie早晨穿着睡衣神经紧张时几个可怕的视角推轨镜头（神来之笔），瀑布外散布的几对情侣，疗养院门外的老太婆。第一幕和第二幕的后半分别是多么完美，以至于它们在反讽中显示出整体叙述或所指的软弱；随后我们看见一个人如何活生生地在达到最真诚、最赤裸的状态之后被一步步用社会意识（我们暂且不说“假象”）重新包装起来。Deanie最美丽的时刻难道不是她剪短头发之后在玻璃后面的半分钟吗？

B+/A-

[1] 参考Pierre Étaix的《悠悠》，其中（跳楼的部分！）将历史叙述奇妙地喜剧化；对比W.安德森的作品，此人信念不坚或品行不端。

[2] 包括漂亮的不定调性配乐：现在似乎已经没人会这么写配乐了。