首先看到豆瓣把本片贴上犯罪片,这样的标签和影片中的审判法官有什么区别??
故事背景设于二战后英国,战后重建及社会秩序恢复的初期。然而道德宗教的束缚,社会偏见的绑架及法律的滞后给女性带来的隐形压迫无处不在。各种机构的构建参与决策都是由男人们把持,包括堕胎这种关乎女性自己身体的事。富裕家族的大小姐需要花光自己的全部积蓄,饱受精神科医生的羞辱拷问才可以如愿以偿。
善良的Vera身体力行的践行着最女权的事,她本能的知道生育孩子是女性自己的选择而非社会或家庭强制。片末她入狱后发现并不是她一个人在做这件事,而是群体性社会性的问题得不到解决才会使堕胎演变成地下模式。因循守旧禁锢的是更多父权社会下男人们的思想,不管他们有多位高权重。
很多评论讨论边缘人群,战后失去家人的人不是边缘人群,堕胎的女性不是边缘人群,
要质疑的是各种非人性化法律法规的合理性。
今天上午还搜索着有没有人造子宫的可能性来解救女性生育的痛苦。毕竟想要实现男女平等,就跨越不了女性在生理特征方面的特殊性。
早前追着有着深层次矛盾的电影看,现在冷不防的看到vera好心办坏事最后得到惩罚的结局,心里也好似便秘一般,憋闷闷的。要说这世界除了钱,就数性的问题最难办。
电影发生在二战后,失足少女们甚至是不少已婚妇女选择堕胎,可法令明确不允许个人以何种理由给他人流产。一个整日里无偿为邻里奔忙脸上笑哈哈的老妇人被判监禁两年半,手术是她做的,温柔安慰需要帮助女生的也是她。
到底谁做错了,谁有罪?🙊
Film Review by Frederic and Mary Ann Brussat
For many years now, English filmmaker Mike Leigh has explored the lives of the working poor with unflinching honesty and an uncanny ability to respect his characters' idiosyncrasies and the feisty ways they struggle to survive against the odds. In this incredibly moving film, he hits high stride in his career and delivers a masterwork that is all of one piece. The ensemble performances are remarkable for their realism; production design accurately conveys the dark alleys and shabby apartments of poor neighborhoods; and the string score by Andrew Dickinson is tender and evocative.
The film is set in London in the early 1950s. Vera Drake (Imelda Staunton) lives with Stan (Phil Davis), her husband of 27 years. She is a domestic who cleans the houses of well-to-do ladies; he works as a mechanic in a shop run by his brother Frank (Adrian Scarborough). They have two grown children, both still living with them in their small tenement flat: Sid (Daniel Mays), a gregarious apprentice tailor, and Ethel (Alex Kelly), a shy factory worker.
Vera, as her husband puts it, has a heart of gold. Although she has plenty of household chores on top of her job, she finds time to regularly visit two shut-ins, one of whom is her cranky mother. Vera, who hums methodically, is a cheerful person who believes that a special grace in life is to savor a good cup of tea, no matter what the occasion. Noticing that Reg (Eddie Marsan), is a lonely fellow, she invites him over for dinner. Everyone in the family is pleased when he takes an interest in Ethel.
Another aspect of her care and compassion for others is her secret mission to help poor pregnant women who are not willing or able to give birth to a child. She works closely with Lily (Ruth Sheen), a friend since childhood, who sells household goods on the black market and finds women seeking abortions. These poor girls, married women with too many children and wives who have gotten in trouble, have no choices other than to throw themselves on the mercy of Vera, who does not charge them anything for her loving ministrations. Their lack of options is contrasted with the situation of Susan (Sally Hawkins), the daughter of one of the rich women Vera works for. After she is raped on a date and becomes pregnant, she sees a private doctor and a psychiatrist who arrange for a calm and safe abortion at a discreet clinic for a substantial fee.
Vera's secret missions of mercy come to an end when a young woman she treated develops life-threatening complications. The police find out about Vera and Lily and are swift to apprehend them (abortion wasn't legalized in England until 1967). Much to Vera's dismay, this all takes place on the same day that they are celebrating the announced wedding of Reg and Ethel. Frank and his materialistic wife Joyce (Heather Craney) are at the party with them. Their good news that Joyce is pregnant gets lost in the confusion when the police arrive and question Vera. Anger and shock are two of the emotions experienced by Stan, Sid, and Ethel when they learn the secret Vera has kept from them for nearly 20 years.
When was the last time you saw a movie that focused on the compassion and genuine goodness of a person who doesn't live for herself but always puts others first? Look no further. Mike Leigh has created an emotionally resonant drama around the little acts of kindness that all the world's religions agree is at the center of what it means to be a fully developed human being. Vera accepts the punishment that is meted out to her, but then many good and self-sacrificing individuals have suffered for what they believe in without complaint. Vera Drake is one of the best films of 2004, and Mike Leigh is to be commended for making a hero out of a kindly woman who does her best to help the less fortunate around her.
《女人韵事》是那个时期的法国,《维拉德雷克》是那个时期的英国,前者收钱判了死刑,后者义务判了2年6个月。前者是无知的,后者是善良的。前者是家庭不幸福的,后者是家庭美满儿女双全的。前者为了金钱的诱惑,后者知道自己在干什么,认为那些女孩需要帮助。两部片子都很出色,《维拉》在另一个富人世界的对比更胜一筹,虽然穷人和富人都会因为被迫怀孕寻求帮助,但富人花了比穷人贵50倍的钱,做了精神科鉴定,就可以在法律漏洞中安全的堕胎,做手术的医生可以理所当然的拿到钱财也不用坐牢。
典型英国电影~ 质朴+人物+生活……演技派 …… 对哦 粉红教授 怪说不得这么眼熟~!!!!
电影院看的。。先前看过迈克李的无忧无虑,甚是喜爱。这部影片依然是描述了一个善良的灵魂,但这个灵魂面对的却是法律与道德的冲突。导演把矛盾带来的痛苦刻画的入木三分,让人感同身受。。。
AnotherYear+TheReader, shot self-contained, to the point, de-dramalizing, so the narrative and acting. Reality is never too cruel or fair.
迈克·李果然不是我的那杯茶
不带任何技巧悬念,全靠表演立起来,而好演员和好导演总是相互成全的。
Imelda Staunton再次让我刮目相看。
17/4/2006 6:00pm Cultural Centre
不是迈克李最好的作品,但依然是其典型风格。因为越来越喜欢他的电影,以至于我对英国工人阶层也日益爱的不行了(当然可能只是想当然):好听的口音、礼貌、助人、艰难亦相互扶持,配上每次都犹如涓涓细流的节奏,爷爷你建造的真的不是一个美好治愈的乌托邦吗?
1. 1950 年啊,还没有避孕套,女人只要怀了孩子就要生出来,如果不堕掉,那么养个7-8个孩子,也都是女人的事儿吧!2. 想象这100年来,人类还真是发生了翻天覆地的变化,有时候也会倒退,所以,眼光应该放远些,大概就能够活过一些苦难。3.Vera天性善良,有非常稳定、朴素、阳光的内在,就是助人。
影片拍摄手法传统而克制,仿佛新现实主义时期的作品。妻子、母亲、罪犯,维拉·德雷克的三个角色,前两个角色她无疑做得非常好,最后一个角色,她认了罪,内心其实坚持自己只是帮助了别人——她的愧疚只是对家庭。当维拉·德雷克与同类罪犯相遇,她们都说她是用最安全的方法“犯罪”。
3.5 Mike Leigh的女人韵事,Imelda Staunton极好,充满意味的群戏,但整个片子好像多了太多枝节。
维拉是个父不详的孩子,现在做清洁工,丈夫年幼失去父母,负责的照顾弟弟,现在在弟弟的修车厂工作,两人知足而幸福,儿子开裁缝店,女儿做工人。维拉对邻居都很热情,她还很热心帮助女性堕胎。偷尝禁果的小情侣,不想要更多孩子的中年妇女,难免意外的妓女,远离家乡来打工的黑人女孩,出轨的年轻少妇,有母亲陪同的少女。少女发生危险住院,母亲不得不说出全过程。没有亲人的小伙和维拉女儿订婚,小叔子老婆也怀孕了,庆祝之际,维拉被逮捕。另一条线是维拉雇主的女儿,富贵单纯,却在约会时被花花公子强暴,她通过伪造精神病来申请堕胎,花费100英镑。维拉不收分文,而中间商却收两尼。事发后,儿子和弟媳看不起维拉,从小饱受饥寒却没有爱的女婿却完全理解。维拉被判刑。不管堕胎是否犯法,就算堕胎不犯法,无证行医也是重罪,没什么争议。
迈克李创造的是一个有人居住着的真实空间。哪怕戏多短,人物多次要,每一场都透露着他对世界的观察。
背景是二战后物质资源紧缺的英国,资料介绍说那个时候的英国城市规划还以满足功能为主,的确,影片大部分的室内背景是逼仄的政府平民公寓,阴暗粗砺的街景,室内摆设陈旧简陋。二战物资的稀缺更包括安全套,因此就引发了太多意外怀孕的个案。vera是个再熟悉不过的温良和善的老太太形象,一生乐于助人。可矛盾就在于那时候私下堕胎是重罪。堕胎这个爆炸性问题,到了现在也没有个温和的定论。老太太的无辜表情令人通彻心扉。
经典之作。不知道那年戛纳为什么拒掉这部片,那年戛纳金棕榈是《华氏9/11》。Mike Leigh独特的电影制作方法学,帮他成功再现1950年代英国社会底层穷苦人家的人情冷暖,再在水面上投下一颗石子,引发此起彼伏的涟漪。Dick Pope的摄影也帮助营造了古早的质感。可惜Sally Hawkins那条线多少有点半途夭折的感觉。
▤「What is it that you do, Mrs. Drake? → I help young girls out.」「You perform abortions, don't you? → That's not what I do dear. That's what you call it. But they need help. Who else they got to turn to? No one. I help them out.」
迈克·李代表作,2004威尼斯金狮奖。1.又一部堕胎题材杰作,迈克·李拍得平实克制,细腻动人,毫无说教与煽情。2.艾美达·斯丹顿的表演入木三分,威尼斯影后实至名归。3.影片完成度极高,前半部分既刻画出了人物群像,又将当时土法堕胎始末及多种堕胎原因(意外怀孕、孩子太多养不了、出轨偷腥与性侵强暴)分散展示出来,后半部则聚焦于罪与罚。4.尽管堕胎的伦理与法律至今争议不断,但本片亦足以引发深入的思考与质疑,影片同时塑造了儿子这个花心浪荡、性侵他人而不自知自省、对母亲毫无同理心的角色,父权体系与父之法对女性的戕害昭然若揭。5.色彩搭配亦可圈可点,比如房屋内往往笼罩在暖黄色之中,壁纸装潢也古朴、素雅而温馨,但飘雪逮捕、雪夜迟归、警察局审讯、法庭判决、监狱对话等场景均为冷抑枯涩的冷调。PS:修订洗版了中字~(9.0/10)
结合当下热点事件,真的应该让去那几个红州的法律制定者好好看看。”Ban of abortion will only ban safe abortion”, 无论是何种结果受苦受难的都是女性,而她们是社会哪怕在最残缺脆弱的战后重建时期最坚忍最无私互助的人呀。真的是视角决定一切,迈克李的电影或许很多被归为“厨房水槽Drama”,充满着琐碎的人物和生活的细节,但是他发自内心的对人对女性的关怀再朴素的制作和镜头语言都掩盖不了,是真正的大师。好久没在电影院看胶片了,今天看得鼻酸酸
这是看过的Mike Leigh最有剧情,最戏剧化的一部电影,与其他几部master-piece作品相比风格差异还是较大,时间设定和影片主题都有了很大的变化。然而作品依旧将目光对准中下层人民,以德行待人未必能得到肯定:良心的拷问和法令的冷漠,摧残的不只是一个Vera Drake。