女大不中留1954

http://blog.trivialfilm.com/2013/05/hobson-choice4.html

女大不中留 Hobson's Choice (1954)

本片获得1954年第4届柏林电影节金熊奖。

电影讲述一户人家女儿对抗父亲的故事。女主角是一个三十岁的大姑娘，她还有两个妹妹，三人都在家族开得鞋店工作。这是因为死了老婆且嗜酒如命的父亲吝啬及懒惰，他不愿意让家中的三个女儿出嫁。一天，一个贵妇人到店中询问做鞋的工匠是谁，唯唯诺诺的男主角认出是自己做的鞋。贵妇人就告诉男主角及店中所有人，男主角做的鞋是全城最好的。之后，女主角找到男主角，告诉他自己要与他成婚。男主角吓呆了不敢答应，但在女主角的劝服下明白了一切：男主角做的鞋最好，而女主角鞋卖得最好，两人是最佳组合。可是此时男主角已经有了婚约，女主角听后马上来到男主角未婚妻家取消了婚约。晚上，女主角告诉父亲自己要嫁给一个鞋匠，父亲很生气。隔天父亲就要鞭打男主角，女主角见到后马上带着男主角离家而去。两人来到贵妇人处借下一笔钱，迅速开起一家鞋店，女主角还打算第二天结婚。第二天到了，女主角通过妹妹的情人知道父亲因为喝醉掉入情人家的地窖中，于是女主角设下一计。婚礼很快举行完毕，两个妹妹的情人都参加了。父亲很快收到传票，他因为私闯民宅而被指控，他找女儿寻求帮助。就这样，女主角利用父亲的心理，并在另一个妹妹情人——一个律师的帮助下，让父亲付了500元钱，这笔钱刚好够两个妹妹的嫁妆。就这样，两个妹妹很快嫁出去了。一段时间后，父亲因为喝酒病重需要人照料，女主角让妹妹两人帮忙，但她们两人都不同意。于是，预计有此结果的女主角提出照顾父亲的条件：男女主角二人住回父亲家，且两人占有父亲店一半的经营权。父亲起先不同意，但在男女主角两人述说的事实面前他答应了。最后，父亲带着男女主角两人去找律师起草合同去了。

这部电影很传统，是一部戏剧结构明显且笑点非常模式化的喜剧电影。电影剧情总体来说还是不错，比较耐看，只是电影的主题太荒唐，而且剧情严重脱离现实，让我很难接受。换句话说，本片故事已经脱离时代，即使部分笑点可以让人发笑，它也称不上是佳作了。

本片之所以给我这种感觉，就是因为电影故事太假了！天底下哪有片中那样的父亲，吝啬、贪财、懒惰、不疼爱子女，为了省钱连女儿出嫁的嫁妆都不肯出，真是“一毛不拔”啊！即使文学作品中有这样的父亲，但它出现在电影中却显得那么不真实。此外，女主角这样的女儿也是世间少有，她根本不爱自己的父亲，只想着嫁人、只想着怎么获得父亲的财产，根本就不记挂父亲的病情。综合这几点可以看出，本片是一部荒诞到超现实的喜剧，或许这就是神经喜剧？总之，我不喜欢。

因此，本片只表达了这样的主题：父亲是可以骗的、男人是可以抢的、嫁人是天经地义的！这都是什么啊！

电影拍摄上同样传统，是非常古典的表现方式。比如音乐的适时渲染，主要依靠肢体语言的笑料，语速飞快的对白，等等。看这样的电影，又让我想起四五十年代好莱坞黄金时期的黑白片了。只可惜，这是一部称不上经典的英国老电影。

本片演员非常出彩，尤其是父亲扮演者Charles Laughton。Charles Laughton将父亲这个吝啬鬼演绎得惟妙惟肖，生动而形象，特别是他的肢体语言与念白，具有非常独特的魅力，堪称世界独一无二。这个生于十九世纪的家伙实在太厉害了！片中其他几位表现中规中矩，三个女人也不算漂亮，她们分别是Brenda De Banzie、Daphne Anderson、Prunella Scales。三人的详细资料没查，大概都没有什么名气吧。

总结一下。这是一部有些部分好笑的传统喜剧，它已经“传统”到现代人不能理解了。不过Charles Laughton的表演实在精湛，神一样的演出。

Brenda De Banzie

Daphne Anderson

Prunella Scales

序列：1045

女大不中留.Hobson's.Choice.1954.D9.MiniSD-TLF

2013-05-23

       电影拍的很早，1954年，还是黑白的。出乎我意料的这竟是部喜剧，看来以后买碟必须把包装袋打开详细看看里面的介绍了。

       电影不但是黑白的，其他的也保留着老电影的风格，要是看腻了现代重复的电影，看看这部换换口味，感觉还是很好的。恰到好处的配乐和戏剧式动作都令人看了之后反而感觉耳目一新。也许我们现在的电影太过于纪实，恰恰忘了电影也是一种舞台表现形式。

       故事编的也很好，有点英式幽默的感觉，讽刺中见幽默，幽默时不忘讽刺，我想要是一句话总结这部电影的话，那就是这部电影很好的还原了一部很精彩的短篇小说 ，十分值得一看。

那句“By GUM”因为英语的时过境迁，显得很好玩~~转一个评论~

DAVID LEAN may not be known primarily for his comedies, but the two he made——1945's Blithe Spirit, based on the Noel Coward play, and then Hobson's choice in 1954——were exceptional, combining expertly timed broad humor with his always refined sense of Englishness. The gorgeous black-and-white Hobson's Choice is the more sublime of the two, ranking with the best Ealing Studio feathers of the period, well-known for their mirth and gentility. Yet it boasts a special distinction from the Ealing tradition, molded as it is by the sharp mind and artful hands of a meticulous cinematic visionary. By the time of Hobson's Choice, Lean was a proven master of storytelling, not through "perfectionism" but his exacting creation of mood, established by concentration on tempo, ambience, environment, and detailed behavior.

No Ealing or Gainsborough comedy surpasses the polished gleam of Hobson's Choice. Its brassy characters——blustery boot shop owner Henry Hobson(Charles Laughton), his stern eldest daughter, Maggie(Brenda De Banzie), and the timid shoemaker she marries, Will Mossop(John Mills)——are large-scare emblems of the British class system, representing its range of clashing types. Depicted with rousing vivacity, they inhabit an early twentieth-century setting that Lean conveys with his widely admired, signature sense of the real physical world; the polished-pewter beauty of Jack Hildyard's black-and-white photography gives even the cobblestone streets a tactile dimension.

Lean develop this hyperrealism as part of his cinematic character portraiture-----investigating British manners through archetypes that would be amusing and enlightening and, above all, as eminently recognizable as a Manchester street, an Edinburgh town house, a London flat. That was the gift of Lean's apprenticeship with playwright and theater titan Noel Coward. They worked together on the 1942 World War 2 film In Which We Serve, and also collaborated on the patriotic overview This Happy Breed(1944),a derivation of Coward's earlier British family epic Cavalcade(filmed by Frank Lloyd in 1933).The Lean-Coward films were not middlebrow jingoism; in each one, Lean showed an appreciation of how individual behavior----and the look of average lives----defines the national spirit. Theater suited Lean's preference for framing characters in a way that makes it possible to understand their existential circumstance and spiritual nature----best exemplified by his adaptations of Coward's plays, especially 1946's atmospheric Brief Encounter.

This scrutiny of British behavior was famously elaborated in Lean's Dickens adaptations Great Expectations and Oliver Twist----literary-cinema masterworks that combined imaginative folklore with classical British narrative tradition. Lean gave that tradition new life in Hobson's choice, based on theatrical warhorse by Harold Brighouse, first performed in the United States in 1915, perhaps as a caricature of Englishness. But Hobson's Choice was soon thereafter embraced by Britons, who approved Brighouse's farce as a genuine reflection of their own culture, habits, and humor. Lean responded to the play's vintage qualities, adapting it with the same inspiration he had Dickens----telling Henry, Maggie, and Will's story as imaginatively and as vividly as possible.

Staring with Malcolm Arnold's boisterous score, Hobson's Choice boasts an English music-hall spirit that connects this theatrical artifact to the popular realm of mass entertainment, but made sophisticated, as always with Lean. As a cinematic craftsman, Lean surely related to this story of skilled Manchester laborers whose personal drives pursue high standards of material quality, moral behavior, and social esteem. It is Lean's dramatic expertise and elegant workmanship that transform a crowd-pleasing formula of combative egos into a revelatory romance. The rousing and hilarious clash of wills----the father wrestles with his loss of authority, the daughter fights for her individuality, and the workman gains self-esteem and self-determination----preserves the midcentury concept of Britain as not only an empire but a land of articulate and ingenious authoritarians, legislators, and proud laborers: the British character idealized.

As in so many Lean films, the eccentricities displayed by Henry, Maggie, and Will are observed, revealed, and discovered to be timeless human attributes, as in classic British literature. Their comic actions recall the histrionic undercurrents that propel the Dickens melodramas. Laughton's bumptious patriarch mourns his waning authority when stern Maggie acts against her impending spinsterhood by setting her sights on Will. Already the functioning head of the family----taking the place of her deceased mother; even bossing around her two younger sisters----Maggie defies her father's oppression. "The dominion of one woman is paradise to the dominion of three," Henry complains to his cohorts at the Moonraker tavern. Lean favors each of Henry, Maggie, and Will's chosen prerogatives even as they are in hilarious conflict with one another. In the way, Lean satisfactorily enhances the Coward method, humanizing the most outrageous quirks of the British class system.

Henry drown his loss of control in drinking, Maggie effects her own emancipation, and Will gradually acquires his manhood and comes to social consciousness. Their development should be taken no less seriously than that of the protagonists of Lean's more famous dramatic films, since Lean applies the same fascination and affection here; this gives Hobson's Choice its comic strength. An examination of the empire's social manners and psychology is always at the core of Lean's narratives. When patriarchy's silly privileges(power and drink) go up against unstoppable forces of temperance, love, and early twentieth-century feminism, Hobson's Choice soars as a lampoon challenging the old order. Male tyranny is easily subverted through the functions of expert comic plotting. Henry may rant against the "rebellious females of this household," but Maggie's determination to have a man who loves her and a life of her own design becomes a viewer's delight.

One roots for Maggie, an underdog heroine whose virtues show in De Banzie's middle-aged figure and beaming, emotionally open face. The opposite of Ann Todd's emotionally secretive heroine in Lean's 1949 Madeleine, Maggie refuses to be subjugated; her liberation is the obverse of Madeleine's sexual, legalistic tragedy. The title Hobson's Choice comes from a familiar expression meaning lack of options; the play extends that meaning to Henry Hobson's inevitable giving in to his daughter's growing empowerment. Maggie doesn't acquiesce to her father's rule but acts on her own behalf. It is Henry who, ironically, has no choice and t accept the circumstances of Maggie and Will's marriage and business venture.

Maggie is one of Lean's strongest heroines; overwhelming the man in her world, she's force of nature like Katharine Hepburn's Susan in Bringing Up Baby. And Hobson's Choice is a similar no-choice romantic comedy. After the outrageous scene where Maggie confronts Will's lowly girlfriend and her virago mother, then permits Will to kiss her, the flabbergasted male can only submit; "It's like saying I agree to everything, a kiss is." The way Maggie, Will, and Henry anglicize the screwball comedy genre, pushing romantic determination into homegrown social upheaval, makes Hobson's Choice anything but lowbrow farce. Political truth lies inside its romantic premise. By marrying Will and starting a bootery to rival her father's own business, Maggie embodies the principles of British capitalism better than even her lackadaisical father. She insists, "Will Mossop is a good man, as meek and fine as I'm strong and hard."

In commiserating with Maggie's ambition and dynamism, Hobson's Choice has remained fresh----a bona fide portrait of British manners that's been relevant over decades of political change and comedic fashion. To contemporary viewers, Maggie may even suggest a proto----Margaret Thatcher entrepreneur. Maggie's drive toward privatization as she rescues Will from drudgery impresses on several levels. She tells him, "You're a business idea in the shape of a man." As they escape his dull marital prospects and his certainty of financial and spiritual impoverishment, Will exclaims, "It's like a happy dream!" This doesn't cast Lean as conservative----look how he provocatively stages Will's admission: the lovers are poised in a narrow archway, the sunlit background of housing projects and satanic mills suggesting their indeterminate future.

Images just that expressive and precise prove Lean's mastery; it's the personal touch----like Will's boot-making expertise----apparent in whatever genre he essays. Celebrated as a "perfectionist," Lean shows an exacting, superb craft in visualizing a scene, staging characters and situations to bring out larger meaning. The first, high-angle shot looking down on Will in his cellar workroom cuts off the top of his head as the camera moves in----but not too close. It matches the scene where Will is angrily summoned by Henry, who is viewed from a low angle----not too close but leaving Henry's head cut off as well. These compositions analyze the prospects of masculine authority and subjugation, both on the verge of change.

Lean's imagery always catches his actors' precision, and never more so than in this film. The camera tracks De Banzie's fastidious ardor; a close-up shows her first sign of affection when she excuses Will's semi-illiteracy: "It's the italics which makes it difficult for him." Laughton's Henry Hobson is an uproarious comic turn, from the moment he runs up a staircase with Lean's vertiginous angle conveying comical tipsiness to the singular midnight caprice when he drunkenly stalks the moon's reflection in the rain puddles. He evokes a Chaplin ballet, but he's actually an existential acrobat. Hobson's moods are larger-than-life theatrical, yet Lean's style makes them quintessentially cinematic. when he finally falls into a cellar, it's as if descending from the moon above. This phantasmagorical image is the link between Lean's professed fondness for Orson Welles's chiaroscuro and Laughton's fantastical The Night of the Hunter.

Folksy humor might conceal the rigor of Lean's formal artistry in Hobson's Choice, but the illustration of English social custom and sexual manners makes it as profoundly expressive as Lean's bigger movies. The opening pan of assorted shoe silhouettes, a range of family sizes, introduces the Hobson family turmoil. It then coheres with Maggie and Will's courtship, their gradual steps taken against neorealist backdrops of northern England's smokestacks and polluted rivers. Altogether, a typically Lean-rich vision of man in his environment. Through this story of thunderously, wondrously henpecked men and a determined woman's romantic zeal, Hobson's Choice depicts private and social revolution. As the bedroom door closes on Maggie and Will's wedding night, Lean transcends smirky innuendo; his slow pan left enlarges the tale, describing a house being put in order: No other romantic comedy has been more telling yet discreet.

电影简介:
一个「三张兼过?庙」的鞋铺太子女何美娟，不甘心被老爹批死「苏州过后无艇搭」，更加不想「揳灶罅」，决定主动出击，寻找自己的「理想对象」，誓要扭转「下半世住姑婆屋」的命运。第一步当然是「搵老公」，于是美娟决定先出对头，然后逼造鞋泰斗莫威出对尾，实行逼婚大行动。做了大半世免费劳工，美娟今云决定另起炉灶，一于与老爹对抗到底，于是略施小计，不但令老爹从此不得发威，兼且乖乖把财产双手奉上；最后，还撮合了两个妹玉娟和惠娟的终身大事，终于大功告成，大团圆结局，所谓各得其所，皆大欢喜。