无可救药爱上你2002

有时间的话读一下原著吧, Byatt模仿维多利亚时代诗人Robert Browning和美国女诗人Emily Dickenson写的那些戏剧独白和短诗着实精彩, 还有浸泡着浓浓的书卷气的无比含蓄却热烈的书信,读起来浑身鸡皮疙瘩...小拜模拟人物说话写作的水平是一流的.就像她形容男主角Randolph Ash的那样, 是一伟大的ventriloquist

看Possession的中文版小说，断断续续的看了一半，因为晦涩的诗词而不得不停顿，无意中发现电影版，便迫不及待的拿来欣赏

其实就是一段婚外恋，难道因为它是真爱所以就美好，就值得被同情？
对妻子的爱是责任，对情人的爱是激情，统统冠以爱的名义。

爱太泛滥。

我最爱不起的男人就是对这妻子说我不会和你离婚的，你是我的的责任，我会照顾你一生，然后转头对着情人说，我跟我老婆没有爱情，就只有亲情，我的心都在你身上，但是我不能抛弃一路甘苦与共的糟糠之妻。说穿了这种男人就是一个自私鬼，两手都要抓还要向世界要同情。

只是不明白为什么女人都容易沉浸在自己编织的美好里，自欺欺人的去相信自己是那个独一无二的存在，还傻傻的为男人寻找各种借口。

想要两全的终不能两全，忧伤带出来的感动和美好倒是能赚足一大把的眼泪。

      电影版删减了很多人物和内容，使情节更为紧凑，但也失去了原著缓慢推进的自然感和沉稳的气质。Roland从英国人变成了美国人，原著里谨小慎微，略带些压抑的英国气质大概也随国籍的改变而失去了吧，甚至原著中的贝雅特里斯变成来了一位年轻女人，还暗暗喜欢Roland；Roland的前女友这个角色也没有出现，其实我觉得前女友这个角色还是比较重要的，书的最后Roland感受到了一种解放，不再为这些书信，为解密而执着，他找到了自己，与女友在一起的压抑贯穿始终，最后彻底地和她分手也算是构成彻底解脱的一个元素。在电影版中Maud仿佛一开始就很友好，很快地就和Roland精诚合作，两人也很快生出情愫，当然由于省略了很多人物和情节以及电影要照顾故事性的问题，Maud和Roland之间丧失了原著中两颗心慢慢靠近的感觉，也丧失了那种不似典型的爱情，但互相深度了解，同情对方的感觉。
    至于Ash和Lamotte这条线，也似乎太发展得太热烈太快了一些，两人之间以及与他人之间的冲突不似原著中那么暗流涌动。
     除去Roland（他的整体气质已经改变了），我觉得再选角上最大的败笔是饰演Lamotte的演员，原著里Lamotte是一个及其纤细，皮肤苍白，拥有极淡色金发的女人，电影版的演员不仅在外形上和原著毫无相似之处，在气质上更是不能比拟，Lamotte对这段感情应该是挣扎，畏惧，躲避的，因为她珍视自己的孤独，珍视自己女性的独立性，同样也是高傲，冷淡，高深的，在电影版里我只觉得Lamotte是个很平庸的女性，两人有点像偷情。
    Gwyneth Paltrow的外形很适合演Maud，不过电影版应该已经抛弃了原著中Maud的冷漠，高傲，疏远，怀疑的特质了吧。电影开头出现的Cropper倒是挺符合我想象中的模样，拥有极大的自我优越感，可惜戏份极少。
      在看电影前，我觉得“无可救药爱上你”这个名字太俗，也太浅，但是看完电影后我觉得电影也确实没有表现出原著“占有”的多层含义，作为一部有紧凑的剧情，迷人的主角，爱情的消遣电影，叫这个名确实挺合适。
   

    Possession: a romance is often considered as a complex suspense novel regarding history of literature and love. The story starts with a twentieth century dead-in-wood scholar Roland who spends all his time studying a poet Ash from the nineteenth century. It appears at the beginning of the novel that this book focuses on the position of males, particularly Roland and Ash, in different social background. However, new highlights are brought into the novel when Roland discovered the love letters between Ash and Christabel, another poet at that time. The author portrays Christabel and Maud Bailey, tow ladies from different times who change to fight for their freedom to discuss the roles of women through out the history, and how the talent and freedom of women was suppressed.

       Both Christabel and Maud are described in a somehow negative manner when they first appeared in the story. Roland describes the photo of Christabel as “no clear impression of anyone in particular; it was generic Victorian lady, specific shy poetess” (Byatt 44) Similarly, Maud is described as a very ordinary figure. “At first he did not identify Maud Bailey, and he himself was not in any way remarkable” (44). Thus, it can be clearly seen that both Christable and Maud were not considered stunning based on how they looked. Roland even has the impression that Maud “smelled of something ferny and sharp. Roland didn’t like her voice” (44). This shows that most people in the society didn’t appreciate women’s beauty at first sight.

     Byatt makes lots of hints and metaphor regarding the fact that people didn’t realize the talent and importance of women. Maud Bailey’s hair is blonde and metallic, a gold that might have existed before the discovery of precious metal: As she unbinds her mane "Roland saw the light rush towards it and glitter on it, the whirling mass, and Maud inside it saw a sea of gold lines, waving" (296). This represents Maud’s stunning beauty and talent; however, She wears it covered with a scarf, symbolic of repressed Victorian sexuality. Although Christabel’s hair color (like Maud’s hair and the scintillating waters of the fountain) is metamorphic in hue, we have seen that it contains pale loops of silver-gold (301). Gold – the color of charm, confidence, and power linked two women together in reflecting an essential element of their feminine nature—fertility, confident and attracting.
“Mine the bright earth
Mine the corn
Mine the gold throne
To which you’re born
Lie in my lap
Tumbled with flowers”
This is the song of the gold lady who wears a "queenly crown of gold, a filigree turret of lambent sunny gleams and glistering wires above crisping gold curls as heavy with riches as the golden fleece itself" (169). Based upon these parallels, we can conclude that in Possession, women’s wealth — their power and energy — lies in their hair. Even though Christabel’s and Maud’s beauty and power is not recognized, their natural female characters still exist and shine just like the sparkling gold lady.

The connection between Maud and Christabel serves also to connect the past to the present, the Victorian to the Post-modern. Feminism is an important aspect in each time period of the novel. Maud is a modern feminist, attempting to balance her identity as a woman with her identity as an academic scholar, and Christabel is trying to overcome her femininity by living as a recluse with another woman before she met R. H. Ash. Similarly, Maud is a withdrawn person, wary of men, and distrustful. Christabel is doing what many women of her time were doing, that is, struggling for masculine freedom in a world that was very limited for a woman. Maud is doing what many women today are attempting to do, that is, trying to reconcile and accept her femininity in an academic, typically male, environment. Byatt plays up this feminist view of literature and society by choosing to base Christabel's poetry on the strongly feminist poetry. She and Maud are living the liberated version – living on their own, being away from the secular society. These all indicate the ways that women fight against the social pressures and choose their own liberate styles to live.

          Not surprisingly, the light that gold emits cannot be covered up. Eventually, the free soul broke out and the courage pursuing liberty and love beat the fear of being different from others. Christabel and Maud both changed, as they could not reserve their true feelings anymore. In Victorian tradition, it was the man who 'owned' the woman, his wife. Yet in this modern Victorian work, that becomes twisted. When Ash attempts to 'claim' Christabel on page 308 by holding her and making love to her, the act of possession is switched around. He is trying figuratively to grasp her, and 'she was liquid moving through his grasping fingers, as though she was waves of the sea rising all round him.' He tries to take her all in, to know her, and her womanhood eludes him, as personality always will. Byatt's message seems to be that a personality cannot be taken or possessed by someone else, that individuality always remains, even in Victorian situations of female oppression and domination by males. The same love story that defines Christabel and Ash in the 1860's also describes Roland and Maud in the 1980's. Roland gradually changed his impression about Maud and found her extremely charming as a serious scholar and a beautiful independent woman. As two hearts got closer and closer, Maud finally chose to be her true self. She told Roland about her relationship with Fergus, and the reason why she reserved beauty. Then she was convinced to uncover her hair. “The segments of the plaits were like streaked and polished oval stones, celandine yellow, straw-yellow, silvery yellow, glossy with constricted life. Roland was moved—not exactly with desire, but with an obscure emotion that was partly pity, for the rigorous constriction all that mass had undergone, to be so structured into repeating patterns. If he closed his eyes and squinted, the head against the sea was crowned with knobby horns.” (291) This was how Roland felt when he saw Maud’s hair. The incomparable stunning beauty shocked Roland. “Life is so short,” said Roland. “It has a right to breathe.”(291) The courage and desire for love and freedom made them decide to give their love the right to breathe.

          Through the two love stories, sexuality is also discussed. On page 6, there is a passage on R.H. Ash's poem representing Proserpina, an ideal Greek woman, as 'gold-skinned in the gloom..grain golden… bound with golden links.' This is an example of idealized fertility and sexuality in Victorian women. It represents sexuality as something that can be conquered and possessed, like gold or grain. The suppression of sexuality in the Victorian era is a theme throughout the book, in both time periods, as is the sexual freedom that both couples eventually reach. The sexuality in Victorian society can be traced in Possession.

        Byatt successfully displays the change of the roles of women through out the history by shifting from the 1860's to the present. The romances are so similar that it is often difficult to tell which couple Byatt is writing about in any given situation. The way this romantic narrative fits both couples and time periods seems to suggest that not so much has changed, and romance from one time to another is not so different as we thought. The characters mix the old and the new; Maud wears a brooch once belonging to Christabel, and another Ash scholar, Mortimer Cropper, carries Ash's pocket watch. In the end of the novel, the last love letter written by Christabel enables Maud to finally enjoy the value of love in the present, and give her trust to Roland. The cyclical time frame of the novel provides an interesting contrast to the normal, stifling, linear time frame of typical literature and everyday life.

         Possession, a novel with lots of feminism color, does a good job in portraying two female characters from different times to call for the respect and attention for women from the society. Christabel and Maud are two respectable females who set an example for women to be who they want to be and gain respect and love they deserve.

以真爱为名，出轨不叫出轨叫浪漫，那个受了严重心伤而被自杀的女同志啊，人民已经把你遗忘

本来以为是一部穿越体电影，原来是一部跳跃体，在古今来回切换的画面里，有好莱坞勉为其难的英式矫情

bbc《傲慢与偏见》的女主角（我记得我曾及记得她的名字），在这里笑得好苦。。。。
格温妮斯，我爱你

没字幕的，我下载了，我看完了，我胜利了！

我一直讨厌格温妮丝帕特洛，冲着Jennifer Ehle把她忍下来了，没想到还有Toby Stephens和Tom Hollander作为惊喜和囧....

Jennifer Ehle的眼睛真是太美了，当他们终于决定再次见面，穿着披风穿过人群的Christabelle如同从中世纪的油画里走出来一样，脸上神秘温柔甜蜜的笑容，害我一直质疑这个电影难道说的是中世纪的一对恋人，让我想起爱洛伊丝和阿拉贝尔，他两的相爱同样不能公开，同样“唯美”。

当然如果用天涯标准来衡量，这爱情绝不美好。伤害的人除了Christabelle的同性恋人，还有Ash的妻子。不过电影有个细节让我觉得很囧，那就是，MS Ash跟他老婆都没xx过？说什么physical 的，我搞晕了，英语太差劲了...

爱依然是美好的，我如果是Ash，也一定会一头栽死在jennifer Ehle的眼睛，和诗歌里.............

我喜欢那个结尾，Maya小朋友真太美了，英语说的那么好听，最后来一句我希望我能记得，结果真给忘了，弄的我都有点唏嘘..........