喜宴 喜宴 8.8分

罗杰伊伯特评《喜宴》

黑白
2018-04-16 03:12:25
提示:这篇影评可能有剧透

如果说有个人可以把生活过成令自己满意的样子,那么这个人就是伟同。一个年轻人,来自中国台湾,同性恋,20多岁,和他的美国男友赛门过着幸福的同居日子,名下还有一些房产。一切都很好——除了那些来自父母的书信和电话,他们迫切希望伟同能够早日成家,给家里添个孙子。

不过他们没有想到伟同是一个同性恋,伟同也不敢告诉他们真相。一天,赛门想到一个能让所有人都满意的计划。在伟同的租客里,有一位中国女人,葳葳,她是个潦倒的艺术家,走投无路之下正打算回国。她非常喜欢伟同。

赛门建议,不如让伟同和崴葳结婚,这样她就可以拿到绿卡继续待在美国,同时伟同也能安抚他父母。伟同正苦恼,听到这个计划,就仿佛抓住了救命稻草。

崴葳被他们顺利说服。然而当父母告知伟同,他们将从台湾出发去参加婚礼时,所有的计划都被打乱了。

至此,我们或许会产生看《一笼傻鸟》的错觉。确实,李安在构思本片的误解和欺骗部分时对前者有所借鉴。但是除此之外,影片仍然呈现出一种温暖的格调,结局也显得颇为动人。

李安导演很有节制地去处理手中的素材,没有刻意地制造戏剧冲突或滑稽片段。同

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如果说有个人可以把生活过成令自己满意的样子,那么这个人就是伟同。一个年轻人,来自中国台湾,同性恋,20多岁,和他的美国男友赛门过着幸福的同居日子,名下还有一些房产。一切都很好——除了那些来自父母的书信和电话,他们迫切希望伟同能够早日成家,给家里添个孙子。

不过他们没有想到伟同是一个同性恋,伟同也不敢告诉他们真相。一天,赛门想到一个能让所有人都满意的计划。在伟同的租客里,有一位中国女人,葳葳,她是个潦倒的艺术家,走投无路之下正打算回国。她非常喜欢伟同。

赛门建议,不如让伟同和崴葳结婚,这样她就可以拿到绿卡继续待在美国,同时伟同也能安抚他父母。伟同正苦恼,听到这个计划,就仿佛抓住了救命稻草。

崴葳被他们顺利说服。然而当父母告知伟同,他们将从台湾出发去参加婚礼时,所有的计划都被打乱了。

至此,我们或许会产生看《一笼傻鸟》的错觉。确实,李安在构思本片的误解和欺骗部分时对前者有所借鉴。但是除此之外,影片仍然呈现出一种温暖的格调,结局也显得颇为动人。

李安导演很有节制地去处理手中的素材,没有刻意地制造戏剧冲突或滑稽片段。同样的,演员们对自己的角色有着一种奇怪的宿命论看法,尤其是伟同的扮演者赵文瑄,他似乎认为自己的角色只能做最坏的打算。电影里有一些喜剧片段,例如父母为伟同找到婚姻介绍所,再三强调想要一位个高、会唱歌剧的歌手,最终却发现介绍所只能满足其中一个条件。而更多的时候电影是严肃的,尤其是当影片在处理角色的情感和恐惧时。

对崴葳(金素梅)来说,这出虚假婚姻看似得偿所愿,却充满痛苦,因为她的假戏真做使伟同倍感压力,后者越来越抗拒。对伟同来说,整件事情让他不安,因为所有这些建立在一个谎言之上。至于赛门,一发不可收拾的局面下,他越发边缘化,甚至变得可有可无。

父亲和母亲(郎雄和归亚蕾)满怀期待地来到儿子身边,却不能不感到小两口之间的冷淡。法官主持的婚礼更是与他们想象中的不同。这时父亲的一个老朋友突然出现,表示愿意让他们在自己的餐馆办一场中式婚宴。宴会是影片最精彩的部分,随着酒杯,传统,欺骗和期望的碰撞,结局以一种不可思议的方式走向了大团圆。

《喜宴》不是一部特别华丽的片子,情节的构思显得刻意,两个年轻人的表演也有点不自然,尽管父母的表演非常好。

影片的成功之处在于其生动的真实性。导演并不一味追求夸张的戏剧性和庸俗的笑料,而是赋予角色以相应的责任。在影片的结尾,我惊讶地发现,自己已不自觉地爱上了这些角色。

原文:

To the degree that one can fashion a life that is completely satisfying, Wai-Tung believes he has done so. A young Chinese man from Taiwan, gay, in his late 20s, he lives with his American companion Simon in a comfortable brownstone in New York, and manages some loft buildings he has purchased. All is well - except for the letters and phone calls from his parents, who wonder, with increasing urgency, when he is going to marry a nice Chinese girl and present them with a grandchild.

They do not guess he is homosexual. Nor can he bring himself to tell them. One day his friend Simon devises an ingenious plan to make everyone happy. In one of Wai-Tung's lofts there lives a young Chinese woman, Wei-Wei, an artist who can cannot pay her rent. In despair she plans to return to China. She likes Wai-Tung very much.

Why, asks Simon, shouldn't Wai-Tung marry Wei-Wei - providing her with a green card to allow her to stay in America, while at the same time placating his far-away parents? Wai-Tung, in desperation and optimism, seizes upon this scheme.

We are now, we sense, entering "La Cage aux Folles" country, and "The Wedding Banquet" does take some of the same delight in constructing a comedy of misunderstandings and deceptions. But the movie also has a warm heart, and by the end somehow manages to become very moving.

The director, Ang Lee, approaches his material in a low-key way, not punching up the big dramatic or comic moments. And the actors, especially Winston Chao as Wai-Tung, have a curious fatalism about them, as if their characters are resigned to the worst. There are moments of obvious comedy, such as when the parents subscribe to a matchmaking service for their son, who specifies he requires a very tall opera singer, only to find that the service can supply one. But there are more moments when the film deals simply and directly with the feelings and fears of its characters.

For Wei-Wei (May Chin), the pretend marriage with Wai-Tung makes good sense, but is also painful, because she has a crush on him and would like to be married to him for real. For Wai-Tung, the whole charade is uncomfortable, because dishonest. And for Simon (Mitchell Lichtenstein), his American boyfriend, what starts as a lark ends painfully, as he hangs around the outskirts of the wedding, his omnipresence never quite explained.

The father and mother (Sihung Lung and Ah-Leh Gua) arrive with shining eyes, but cannot fail to sense a certain lack of sincerity between the loving couple. A wedding by a justice of the peace does not match their vision of a suitable ceremony. And then an old friend of the father's materializes, now a successful restaurant owner, and offers to stage a proper Chinese wedding banquet. The banquet is the movie's great set piece, as booze and tradition and deception and expectation all come together, and lead, in an unlikely way, to happiness.

"The Wedding Banquet" is not a particularly slick film; the plot construction feels contrived, and the acting of the two younger men is somewhat self-conscious, although the parents are magnificent.

What makes the film work is the underlying validity of the story, the way the filmmakers don't simply go for melodrama and laughs, but pay these characters their due. At the end of the film, I was a little surprised how much I cared for them.

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