Nice little porn or modern Austen?

2018-02-01 看过

(友邻们,如果你们从此看不起我,我能理解) Yes, I read the book. And yes, I liked it. AAAnd yes, I am pretty ashamed about my taste. ====== 1/3 way into book I ===== I tried to justify my fondness of it. Being straightforward is one reason I can think of --- it is sincerely about having sex, not slightly apologetic for being borderline porn. No pretending to be romantic --- even though deep down it is. No trying to elevate the sex urge up to some higher purpose, no pretentious inquisitive debate over existential confusion --- just. pure. desire. Of course there are little subplots nicely set up, as one can even form an actually convincing theory about why a billionaire would chase after an ordinary girl, as to how his childhood trauma has made him insecure and Ana is his ultimate savior from his trust issues. All the little nice touches to make you feel less guilty about picking up this book. Yes it is literary porn. You read it because you are lonely and you need a Christian Grey in your life. But even with the repetitive use of expressions, the forever-lasting mentioning about Ana biting her lip, the not so subtle theme about control and being controlled, the writing itself is actually, how do I put it, smart and effective. Yes I am ashamed that I can feel what Ana feels, but every word she says or thinks is sincere, that feeling that you desire someone so much it hurts, and you fear it is dangerous, and you don't think you have a chance. But Ana says it without being unlikable, self-centered, or disillusioned. Somehow by expressing her narrative, it justifies that aching desire for something you don't deserve. It does build an overly idealized world, where good things happen with fantasy level possibilities. No, I am not talking about flying a helicopter for a three-hour drive, or a 27 year old being a business genius AND a sex god, or even, not having to tell them your address because they are smart enough to track it down. Maybe the most extremely unlikely thing is, being smart and well-desposed is all you need to deserve the best sex, and you get to have sex by simply wishing it. Even it's the sexiest person you've ever met. What bookish girl wouldn't want THAT? ======Book I+II finished + 1/3 of Book III ======== You can ignore what I said above. The book is not a literary porn pretending to be romantic, it is the other way around. EL James may not have the ambition of becoming Jane Austen of our times, but she certainly achieved it at some level. The quick-witted dialogues in the forms of emails, in addition to being plot devices involving Ana's first "win" on Christian's overnight stay, about Jack Hyde in Book II, or as conversation tools when they are apart or when Ana is too intimidated to express her feelings face-to-face, are shining germs of the book which might be the modern analogues of the Austen style dialogues. But there is a deeper layer. The "negotiations" between Ana and Christian, which constitutes the blood and flesh of the three books, may be the modern equivalent to Jane Austen's characters' skillful use of game theory, as pointed out by actual game theorists. On one hand, like a detective novel, Book I hinges on the fact whether Ana accepts the contract, the reader has to wonder if Ana has the ability to "lure" Christian into a real relationship. The sequence of Ana's small victories, which seemed natural and trivial at every step, finally leads up to Christian giving up his manipulative plans. In this sense, the book even serves as a textbook, as to how a woman can negotiate her way into a fulfilling relationship in the modern world, essentially by ------ withholding sex, which is fundamentally what Austen Characters do by withholding consents to marriage. If Book I reveals the power of "negotiations," Book II is surprisingly ambitious at confronting normal obstacles in regular relationships. Surely, not everyone has a "kinky sex" addict to convert in their lives, but everyone has experienced the regrets of breakup, the haunting ex (either the crazy stalky ex or the pretending-to-be-nice-while-secretly-vicious ex,) the dilemma between relationship and work, intimacy and commitment. Despite the sex scenes taking up 1/3 of the book, the book skillfully lays each of these subjects on the table and carefully cuts and dissembles them with surgeon level precision. Sure, it is certainly impossibly dreamy to have sex six times a day, have simultaneous orgasms each time, or even smell "devine" in your private parts after a long day without shower. But what is even more impossibly dreamy is that, the characters identify these issues with incredible shrewdness, simply by observing each other's facial expressions, and communicate with textbook level skillfulness, probing when necessary and withdrawing when a "hard limit" is reached, often immediately at the appropriate times. Who can do that in real life? =====还是换回中文吧====== 这本书自然不能算作正经文学,但它敬业在,成为了一个很严肃的非严肃文学。比如说,它并不探讨爱情真正的矛盾,例如两人为何相爱,爱如何消亡,爱与社会的矛盾,等等。但在它小小的假设下,它把爱情探讨到了一个无以复加的极致,即是:假如爱情没有以上种种的矛盾,那么两个人到底以何种姿态走向一种看似不可能的必然幸福?反过来,如果在这个过程中,有些环节出了纰漏,那么是不是该想想,到底有哪些深层次的矛盾,自己以前没有看到?它不告诉你怎样克服这些难以摆脱的艰难,但它告诉你艰难何时存在。 另外一个角度就是Ana的coming-of-age story。其实以美国文化的普遍低幼性,许多自诩的高中生coming-of-age stories,其实在我们或许就是初中生或小学生的自我认知。这本书的自我发觉,或许才是真正高中或大学在个人欲望觉醒上的coming-of-age(不要提醒我作者其实是英国人。。)其实这个不可省略的环节,在很多人生命中是缺席的。我们好像急急忙忙地做很多事情,却把人生除了生死存亡之后第二重要的这件事给耽搁了。好多人也步入了理想的婚姻殿堂,甚至有了小孩,但在那之前很多年,那种青春的懵懂,在还没有好好表达之前就已经灰飞烟灭了。并不是每个人都有幸,在自己青春燃烧炙热的阶段,找到一个可以和自己探索欲望的对手。这本书就是很多人或许从未有过的青春期。 =====对 Sam Taylor-Johnson的敬意===== 第一次看第一部,心里有很多“不忠于原著”的吐槽,但看完发现自己不由自主地刷了第二遍,第三遍。当时很怕床戏拍得不好,然后看了眼前一亮,因为完全不是按肉欲的手法拍,而是拍成了文艺片。所以说把一个琼瑶黄文拍成文艺片,或者说把这本书最发光的那点靠近严肃文学的东西用匹配的电影语言展现出来,足以体现sam taylor-johnson的功力,以及对原文的理解。看了第二第三遍以后,才认识到很多的改动确实是必要,电影如果完全忠于原著,从某种程度上说就是不忠于原著,因为导演必须得在理解之后再创造。文学的逻辑和电影的逻辑并不一样。 最感激sam的是选角。我心里对dakota johnson的选角赞了一百遍,后来看了导演访谈才知道这是有心为之,导演自己也觉得无比满意。对jamie dornan我自己从不认可到认可,也渐渐理解了导演的选择,特别是最后一段打ana眼神渐渐迷离,简直对演技折服。第一部整个人都小心地把自己痴汉形象给藏起来,也是演技之一。 后来sam说当时选角原因是两人都有幽默感,看电影也慢慢明白起来。其实两个人互相探索的过程也有种玩闹的性质,而且性这么沉重的话题,只有用幽默感才承担得起来。当初我对sam和arron johnson在一起一万个不愿意,但经过这部电影体会到确实是才女一枚。 第二部一听说是美国的男导演,基本有不打算看的念头。结果和期望果然一样。不仅改的比第一部还多,这些改动完全都没有意义,不像第一部,能看出是反复掂量之后才不得不改。而且直男视角真的无法吐槽,就只是一部商业片而已,没有半点共鸣。默默揣测演员演的时候也挺心累的,估计会更喜欢和sam合作的感觉。 所以很遗憾sam taylor-johnson的退出。似乎原因是和e l james的争吵,只能说隔行如隔山。然后e l james对直男导演无比满意,我简直就wtf了。。。。。 =====电影八卦碎碎念====== 这个电影的选角其实暗潮汹涌。Dakota Johnson, 有个BBC女主持人采访他们时说 "you are exactly how I pictured Ana", 完全同意。看她资料完全崩溃,她妈妈有4次婚姻,和Ana一模一样,而她也是妈妈和第一个丈夫生的(虽然不是第一次婚姻里生的,太乱不说了)最最崩溃的是她是Aspen长大的,书里的Grey除了在西雅图和纽约有房产,偏偏就在Aspen这个名不见经传的地方也有一出房产,还推动了剧情。 最捶地的是,Dakota上访谈几乎是全程giggle,她自己也说在严肃的场合她都会忍不住笑,笑完还会有眼泪出来。尼玛完全Ana翻版。 然后就是Dakota的妈妈,演过Jeremy Irons那一版Lolita的Hazel。已疯。 话说到Ana这边的妈妈扮演者,和Colin Firth当年Darcy对手的Elizabeth,长得比Dakota的妈妈还要像Dakota。这两人某些角度简直就是一个人。再加上原著有很深的16世纪英国浪漫小说情节,找演过奥斯丁的演员好可爱。 最后的最后,Elena的演员演过9.5 weeks,基本可以脑补为当年的女主变老的情景。 残念还是Charlie没演成Christian,真是大憾啊(不过第二部被导成那么直男视角感觉也没什么损失就是了) 不知道是故意还是无意,Dakota从第一部到第二部连长相都更加腹黑,而Jamie慢慢变痴汉(这个可能是本色演出,所以第一部应该才是演技) 刷了一堆Jamie访谈以后看书都会不自觉用爱尔兰口音读对白。。。爱尔兰口音和痴汉形象真心配。

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