故园风雨后

Guilt. Conscious. Religion. Love. Loyalty. Hatred. When we call back the loved and lost ones, does the memory hurt? Or do we drown ourselves in emotions we used as excuses? Actions are actions, and sometimes even weaker than words. These boundaries are so vicious and man-made, dying in those times when we were ashamed of bodies melting and were veiled in the mystery of light awakening. One couldn’t possibly imagine what it would be like to live in another time, to be the watcher of a remembered history. But does one realize his own existence when drifting along the flow of time? Does anyone have the perception into where they are or who they are? Is it really a matter of beliefs? Or searching for a belief? Is it, after all, about living, and living to die? Shall we visit that afternoon at Brideshead?

心不在焉地扫了一遍：一干人等（儿子、女儿、爸爸、妈妈、情妇和男主）只有Lady Marchmain还算不错，演员很面熟，一副可以拿下英国电影所有适龄女主角的气派。

认真看了第二遍：认出来是Emma Thompton。

相信她的表演能镇得住场，但走的也只是那种学院喜欢的康庄大道。

Sebastian和情妇阿姨不过关。

Sebastian小雷。

眼神、风骨都不见，只见柔弱。

情妇阿姨天雷。

她只露了一个镜头，是他们在威尼斯时她点拨Charles的那场戏，本应见凝重的眼神里为什么我看到了阴毒？

然后看了第三遍。

抛开表层剧情的删改取舍向里看，可以说这一版与1981版有两点重大不同：轴心人物关系和矛盾纠结点。

1981版：Charles-Sebastian（前期）；Charles-Julia（后期）；所有人 v.s.一个天主教贵族家庭的宿命。

2008版：Charles v.s. Lady Marchmain。

她邀请他进入她的家庭，和她的一双子女建立友爱关系，一旦发现那都不是她设想的关系，她就逐一毁坏，把他逐出家门。

在Lady Marchmain的Desicion，Control和Power面前，Charles的Passion,Desire，甚至Ambition是不堪一击的。

Charles Ryder所谓何求。

What is Charles Ryder really want?预告片以Julia问Charles的这句话做结。

小标题字幕告诉我们，电影很可能将其处理成一个贫民子弟进入贵族家庭追逐欲望的野心之旅。

爱和死是所有作品的主题，高下之分看从那条路径接近这一主题。

不是说2008版《故园风雨后》的这一选择不可以，但这是一条被各色人等踏过无数次，已经看不到本来样子的路。

走很容易，随大流，谁不会；想走好，难于上青天。

原书和1981版电视聪明得紧，Charles和Sebastian在彼此身上找到而又失去的是他们小时候从来没有享用过的童年。

所以问1981版的Sebastian是否酷儿是一个伪问题。

他身上的孩子气压倒了其他一切属性，至少在他判离家族前是这样。

Brideshead庄园是他和Charles戏耍的大迷宫。

但他不知道这迷宫虽然很美很好玩，却最终会困死他，而同样没有长大的Charles可以给他带来一时的欢欣，却不能让他得到最终的拯救。

然而这样说对Charles有些不公平，试问哪个个体可以对抗一个阶级，一个王朝走向颓败的命运？

面对摆在Flyte家族后人和与他们休戚相关的Charles眼前的历史命运，他们从开始不知世事的纯真，到激愤、抗争，再到彻底毁灭或者天各一方，在麻木和沉默中妥协，在犬儒的喃喃自语里通过尖酸刻薄来释放最后的“不和谐”之声。

重访故园，“to have seen what I have seen，see what I see”。

这里“what”是变换的人事，也是苍老的人心，而后者比前者更能让人悲不能禁。

面对这类充满英伦风情的电影或文学作品时，我总是没有多少抵抗力。

一个古老、神秘、华丽的庄园，一个终身被宗教束缚的家庭，三个感情纠葛的青年，没有跌宕起伏的情节，那些剪不断理还乱的感情也是化作眼神中欲说还休的爱意。

所有的一切，Julian Jarrold 只是用含蓄的镜头，为我们诉说了一段淡淡的故事。

然而，足以令人沉沦。

我想在这里，讨论的不该是宗教究竟是对是错，而且我本人也信仰基督教。

可是，我不得不震惊与宗教对这个家庭的巨大影响。

宗教，应该是让人内心得到慰籍，解脱的信仰。

然而在这里，宗教却是心灵的枷锁。

每一个人都虔诚地匍匐在圣像面前，忏悔着自己无尽的罪恶。

母亲自小就灌输着孩子们原罪说的教义，从厌恶，反抗到顺从，“可恶的小Julia,坏姑娘，活在罪恶中”于是那每晚枕边的耳语竟果真在心底生根发芽，每个人都蒙上了沉重的负罪感。

每一个Flyte，都成了宗教的牺牲品。

庄重高贵的贵妇，她冷漠，她专制，狂热的天主教徒，嘴里总是说着上帝、罪恶， Charles指责她说“上帝是你最好的发明，你想要什么，他就做什么”可是当她请求Charles把Sebastian带回家时，当她听到Sebastian不愿回来面对她的消息无力的靠在墙上时，我看到的是一个伤心、无助、充满爱怜的母亲；浪漫不羁的老伯爵，他开朗，他享乐，因为忍受不了家中压抑的氛围而放弃了子女，和情妇常年居住在威尼斯，看着妻子一点点的折磨着自己的子女，而选择沉默，可是当他病入膏肓时，他还是选择了回到Brideshead Castle ，选择了死在家中。

他讨厌妻子的贞德形象，新婚时送给她的礼物却是那幅让Sebastian极度憎恶的圣母画像。

他坚持不要神父来做临终忏悔，在弥留之际却还是顺从了子女，用颤抖的手费力地画了一个十字。。。。。。

人物内心的种种矛盾冲突，究其根源，无外乎宗教两字。

他们臣服于圣像下忏悔，信仰却时时刻刻折磨着他们。

Marchchair夫人说Julia的婚姻无关乎教养，而取决于她的信仰。

Julia顺从了，被迫嫁给了同是天主教徒的Ｒｅｘ。

那个在车站接Charles时自信的神情，那个看见Charles和Sebastian光着身子时不怀好意的嘴角上的笑容，那个与他们在威尼斯的海滩上肆意玩闹得身影．．．我一直以为Julia和Sebastian一样反抗他们的母亲，反抗者这个家庭，如果说Sebastian是以沉醉酒精来得到超凡的解脱与快乐，那么Julia应该是以冷眼旁观来排斥这个家庭吧？

可是我错了。

Julia没有这份勇气，她是个彻头彻尾的奥兰斯卡夫人式的人（见《纯真年代》）。

她和她一样嫁给了自己不爱也不爱自己的男人，她和她一样拥有了一段没有结果的爱情，她和她一样在幸福辍手可得之际退缩，转身离开。

她像ｓ一样厌恶自己的家庭，厌恶母亲灌输的宗教思想，但她还是屈顺于其，在父亲临终时甚至怒斥了不愿用神父的Charles，坚持了母亲的那一套。

她想要摆脱儿时以来母亲给与的罪恶感，她想和Charles在一起以获得自由，可是这份不合宗教伦理的爱加重了她的罪恶感，她茫然，不知所措，她再次顺从了，放弃了和Charles在一起的机会。

根深蒂固的那些信仰让她在排斥的同时，却下意识的更接近于它们。

只能说，哀其不幸，怒其不争。

Charles是故事的叙述者，就像所有的热爱艺术的贫穷青年画家们一样，从第一眼起，Brideshead这座古老精美的庄园便深深吸引了他。

他不顾一切的想要了解它。

他开始想法设法地接近这座庄园。

但我总觉得在他不卑不亢的外表下，还有这一丝虚伪，是的，道貌岸然的虚伪。

在被赶出Brideshead Castle后，他出于利益和方便娶了Celia, 而再次遇见Julia后竟然又毫不犹豫的，明目张胆的背叛了自己的妻子。

Marchchair夫人在舞会上指责他给Sebastian钱让Sebastian继续酗酒不只是出于单纯的友情：“你只是想要被他喜欢，你不顾一切的想要被喜欢！

”这话也许过分，但也不无道理。

Julia 在影片后段，听到Charles愿意用两幅画换取Rex和Julia自己的离婚后，对他说的那句“你要的不仅是我，更是这座庄园！

”很好的解释了这点（虽然导演在这个问题上处理的有些牵强，没有充分的铺垫好）。

这些是连Charles自己在这之前都没有意识到的自己内心的真正欲望。

而Sebastian无疑是这部片子中最让人心酸、同情的角色了。

哦，那个总是与他的泰迪bear Aloysius形影不离的看似长不大的任性的男孩Sebastian怎能叫人不心酸呢？

“Sebastian and Charles,contra mundum”(Sebastian 和Charles，一起对抗世界) 当我再次看到这句话时眼眶几乎湿润。

他只是想要快乐。

他多么希望能有一个人，一个可以赋予真心的人。

可是，至始至终，都只有他一个人在对抗“世界”。

我无法认同有的介绍中“父母的丑闻扭曲了孩子们的天性”这样的说法。

Sebastian 对Charles那难以言说的微妙情感决不是什么“扭曲”了的情感！！

循规蹈矩的冷漠兄长，天真无知的单纯妹妹，抛下孩子离开的父亲，专制霸道的母亲。

没有依靠。

和他一样叛逆的姐姐，最终也顺从了“主”的旨意。

他太孤独了，他太痛苦了，他太忧伤了。

宗教、家庭压得他喘不过气来，压得他感受不到爱，压得他只能以酒精来麻痹自己。

于是，那个号称无神论者的Charles出现了，他的不同把Sebastian稍稍从阴霾的包围中拉出了一只胳膊。

Sebastian 以为他终于找了支撑。

那个突如其来的浅浅的吻，是Charles 的无意为之，却是Sebastian的真情流露。

Sebastian无时无刻不小心地维护着Charles脆弱的自尊，总是在众人面前强调Charles是个artist 而不是painter。

换来的是舞会上Charles大声又无情的推开。

Sebastian在极度痛苦的情况下抽泣的喊出“Bridey（和庄园同名的哥哥），你不是什么好东西！

……我是如此憎恨你们这些人！

”没错，Sebastian 是一个懦夫。

在面对家庭沉重的束缚时，他选择了逃避，沉溺在酒精中来获得一点点地精神上的自由；然而Sebastian又是一个勇士。

他的父亲老伯爵也选择了逃避，桃李到了国外与情妇海阔天空，但在生命最后一刻仍选择了回来，他们都想要自由，但仍被紧紧地束缚着，即使在Marchchair夫人死后，正如Charles所言“你母亲，现在却比以往任何时候都更有生命力”就像有根线，一条看不见的线，一寸寸地把你带回去。

只有Sebastian，他真正的挣脱了，他情愿拖着虚弱的身躯在摩洛哥的一家医院当门僮，也不愿再回来当一个不快乐的少爷，只有他做到了。

他挣脱了母亲有形无形的阴影、家庭的束缚，挣脱了对Charles复杂的难以割舍的感情，再也没有回来……安东尼.伯吉斯把小说原著比作一朵“被月光催开的玫瑰”。

旧地重游，不可避免的勾起了回忆的伤痛，但是，当我们在为那些无为的牺牲痛心时，还曾记得湖边树下那两个依偎在一起的逃课少年，还曾记得喷水池里肆意游泳的年轻人，还曾记得避开了狂欢的人群、在波光潋滟的桥洞里相爱的人间青涩的初吻？

这些美好，是“永远的夏天”，被留在了记忆的“故园”中。。。。。。

周末无聊，开了很久以前载了半集的《旧地重游》来看，于是不看不知道，一看吓一跳，边看边囧倒……虽说81版电视剧珠玉在前，但因我对这个电影版只有兴趣，没有期待，倒也不会对它的诞生抱着太苛刻的态度。

从最初纷传的Paul Bettany和Jude Law搭档起，对JL不感冒，到最终敲定由Ben Whishaw和Matthew Goode出演后丧失兴奋，继续对BW不感冒，我发现我一直在挑剔的都是Sebastian的扮演者，似乎在我看来Sebastian的难度要比Charles来得高？

其实也不是，不过个人认为，JL太浮艳，BW太阴森，都缺乏小说中对Sebastian的定义，“是迷人的，带着女性美，这是一种极端年轻的美，高唱着情歌，遇到头一阵寒风就凋谢了。

”这大抵是一种仍然停留在孩童时期的纯真的、无性别的感觉，特别脆弱和易逝。

Sebastian的怪异、他的玩具熊、他对保姆的依恋，对Charles的爱，都体现了他性格中的那种无可奈何的人为停滞和倔强的固守。

反而我觉得，Charles要比他好演绎，或者说PB和MG单纯就外表来说，过得去了。

半集的电影版总的给我的感觉，就是过犹不及。

假如原著中曾经隐晦地涉及到Platonic homosexual relationship这样一种关系，那么电视剧版也只是同样隐晦地给予了观众暗示，没有任何一处特别显露出Charles对Sebastian，或反过来，抱有某种超越精神之外的特殊情感。

他们在牛津校园的学生时代，常春藤和流水之上的泛舟，郊野外的烟笼碧树与草莓醇酒；在Brideshead城堡，开遍的繁花，夜晚的海神喷泉、青苔披沥的古老柱廊，礼拜堂；在威尼斯，高耸的钟楼和教堂，冈朵拉，寻常院落。

尽管景色自异，或多或少，我们这样过了一定年纪的人，也曾享受过青春的甜蜜回忆。

有人相伴，不至茕茕。

对于Sebastian，Charles的陪伴几乎具有救赎的意义，而最后，他的堕落，也与没能从Charles这里得到解救有关。

母亲的家庭与母亲的宗教像一座巨大的囚牢困锁住他，他只能从中逃离，不计代价。

他生来所有的一切，如谶言般都为他的家庭吞噬。

即使是Charles。

酗酒、放逐、要求在修道院当一名杂役，颠沛流离的生活与疾病。

Julia是在这当中穿插进来的，若干年后的重逢，暴风雨夜的激情，马奇梅因侯爵临终前的皈依天主教，她最终仍舍弃Charles而去；Cordilia则在战乱中清醒地看到这一切。

Flyte家三个爱过Charles的孩子，结局各自的不幸。

Sebastian可能有三种选择，如此而已。

不管Charles爱Julia出于什么缘由，但至少曾有一刻，他认为他曾在Julia脸上寻找过Sebastian的影子。

怀念，或是伤逝？

如果说小说与电视剧都仅仅是隐晦的暗示，那么电影版就彻底让人没有希望地目睹了Charles、Sebastian和Julia之间的三角恋。

于是一出宗教造就的家庭悲剧与命运悲剧沦为刻意泡制的八点档情感剧。

许多关键细节被删改。

比如Sebastian初见Charles之时在他公寓里醉酒呕吐，校工伦特的骂骂咧咧在这里改成了狗腿式的敦促Charles去赴约，比如Charles对Sebastian的不怀好感被改成一开始就充满期待，比如初访Brideshead时明显表露出了保姆霍金斯对Sebastian的担忧，以及Sebastian对此的拒绝，Brideshead的相伴也从和谐无间变得充满暧昧气息，再比如最大的删改，威尼斯之行加入了Julia这个莫名其妙的“第三者”。

用意仅仅是让Charles与Julia在狂欢节之夜幽会，然后让Sebastian撞见这一出，负气而去？

Charles对Julia的爱，也因为在这种子虚乌有的凑合场景里提前到来而显得不知所谓。

从头看下来，不免令观众错愕，剧情跳跃性之大与生拼硬凑之嫌。

半集电影版在时间段上大约等于电视剧头两集Et in Arcadia Ego与Home And Abroad的内容。

伊夫林的小说改编成电视剧是最好的选择，能够做到巨细靡遗，而电影由于篇幅与时间的关系，在这方面会比较困难。

但终究，还是一个匠心独运的问题。

显然Brideshead Revisited的主题不在于讨论柏拉图式关系，也不在于描写一段错综复杂的三角恋。

它的主题是“崩溃”与“挽歌”。

清醒地意识到旧有的消逝，与无可奈何的挽留情绪。

挽歌至少是三重意义上的，大英帝国日薄西山的荣耀，已成明日黄花的贵族生活，风流云散的青春盛景。

Et in Arcadia Ego，“我也曾有过田园牧歌的生活”，小说第一卷与电视剧第一集的标题，已经揭示出了至少一半的theme，这种情绪贯穿始终。

与此相伴的，西方知识分子在嬗变时代下的心理状态，更加非电影所能呈现（大约因为个人原因，宗教那块始终未能体会）。

2009.08.17 旧评-因为仅看了半部就没看下去了，可能有失偏颇，因此本文不具备任何参考性，慎之。

今天晚饭后忽发奇想，把从朋友处借来的Brideshead Revisited放到电脑里。

从Ben Whishaw甫一出场，牛津那些抽离世界的尖塔映入眼帘，我就不由自主地想起英国种种，欧洲种种——老套得我都觉得不好意思了。

这是英国话剧/电影界的一群多么令人神往的人啊。

Emma Thompson自不必说，给苍白的电影注入一种魔法的生命。

Jonathan Cake当年在南岸的The Globe演那位大喊着：“捏塑我的并不是比常人更硬的陶土”的Coriolanus的时候，我站在下面看到发怔。

Ed Stoppard虽然饰演一个被宗教压到窒息的长兄Bridie，但乔装打扮依然挡不住Hamlet氏的青春挺拔。

Whishaw的头发剃光后的样子，让人想起Aidan Mathews写下的“handsome but hurt”。

那英国人群体性的郁郁揖让，徘徊在欲言又止的边沿。

这不是一部多么出彩的电影，真的。

电影和书比起来，永远都是直观而枯燥的，拨开了那一层想象的雾霭之后，错综的语词，微妙的掩映，转折、虚晃和踌躇……一旦清晰起来也就失去了他们本身的诱惑力。

可是这里面所有的标记都让我不能自已。

威尼斯的景象一旦映入眼帘，我就大喊起来：Canaletto，曾经居住过的南伦敦，附近就是Dulwich Picture Gallery，离开之前还有一个他的展览。

本来这些都只是过眼烟云，也不曾有多深的印象，不料一个小小的开关，就全部打开了。

曾经很矫情地把英语文学的文本虔诚地带到一些匪夷所思的地方展读。

比如在北海边读Woolf的The Waves，在Dublin两年，边读Joyce边踩点，把Dublin弄得比较熟悉了，又匆匆地离开。

在St Pauls的大穹顶下听着祷文还有organ voluntary和各色人等谱曲的英文拉丁文Magnificat，读了不知多少章节的KJV和Donne——我所有的欧陆朋友都对St Pauls不屑，因为他们的家乡大教堂不知道气象要宏伟多少倍，但对一个沉浸在盎格鲁撒克逊语言的小孩来说，语言的经纬编织出的母体永远比具象要更加受用。

罗马公教是折磨了我这许多年的研究课题。

看到Flyte一家在宗教中生死的一幕幕，觉得真是再平常不过了。

多年的挚友MA君是Durham郡出生的公教徒。

他说在教堂里，他的自动导航就打开了，点圣水，屈膝礼，祷文都熟悉得成为第二本能。

在爱尔兰更是如此，Ennis小镇的教堂满到站都站不下，那真是攫住人整个生命的宗教：华美的典仪和精致的歌咏直接诉诸人的感官，社群生活的全然融合又把每一个人牢牢地拉在这张网里。

Donne明里是放下了，其实灵魂一辈子依旧没有放下那种对罪愆和爱欲的纠结。

MA也说，走进Durham大教堂，他的心就飞起来，他分明感到这曾经是一间公教教堂，哪怕近四百年的圣公会洗濯。

妙就妙在，这一切又牵涉着英国的衰落、家族的更替。

ménage à trois的永恒主题只是点衬一个更宏大的问题：一个罗马公教的conscience对这一切的考问。

在一个自称为“神圣普世”，其首领自称Vicar of Christ的森严宗教秩序中，个体的卑微，或如Lady Flyte那样病态地寄希望于彼岸，或如Sebastian纵情欢娱，然后纵情忏悔，或如Julia那般在明知自己的信仰已然被玩弄，自己沦为一种现实与理念的交易品，依旧要自戕，或如Lord Flyte那不免令人想到Wilde的临死悔改。

Waugh本人是对这一切都抱有模棱两可的复杂心态的高超作家，看客只能和他笔下的人物一样纠结。

仿佛镶嵌着珠宝的乌龟的帝国不免夕阳西下：随着贵族的式微，中产阶级以及和下层阶级的全面接收(Hooper那开豁的口音和乐观的态度可资证）已经开始。

Waugh不过希望接收者如Ryder那样，还企图保有摇曳的一枝蜡烛，不要恣意吹灭它……

一星给配乐画面，一星给小本的颜。

其实电影版里的一个细节是我无论如何不能忍的——就是那句重要的、在原著中反复出现、甚至在标题中都出现了两次的“Sebastian contra mundum ”在电影里被错放了位置，甚至被大大亵渎了。

在David Cliffe 给BR原著写的注解里，对这句拉丁语是这么解释的，“ With Sebastian, against the world’ (Latin); an expression of profound loyalty ”，而这种“profound loyalty ”在之前许多波折之后简直让我忍不住眼泪。

BR唯一的中译版里，这句话被译成“不合世俗的塞巴斯蒂安”，我看过的另一种翻译是“塞巴斯蒂安挑战世界”，但不论哪一种，都漏掉了那个“with”，更淡去了那种让人痛心的“profound loyalty "。

而这句话其实是Charles 夹在Sebastian 和他家庭之间以来，几经Lady Marchmain拉拢，深思熟虑之后的一句对Seb绝对忠诚的承诺——“和你一起，对抗世界”。

在Charles对Seb讲的那许多隐秘晦涩而无声的情话里，这句无疑是分量极重又掷地有声的，而不论是在原著里，或是在TV剧中，Charles从未违背过这句承诺，甚至在我看来，他后来同Julia在一起，也是对这个承诺的一种扭曲的维系。

TV剧里Charles说出这句承诺后，轻蔑地将Lady Marchmain赠给他的小册子往桌上一扔，而一旁的Seb则露出了一种“不愧是我看上的人”的近乎得意与骄傲的表情，然后他就要酒喝，Charles也不拦。

而电影却把这句如此重要的表白放在了Charles和Seb第一次造访白庄归来的途中，甚至让Seb自己说出这句话，前面还接着一句“you have me”，而Charles之后跟着重复了一遍“contra mundum”，用的是一种戏谑调笑的语气，加之后来他对Seb的辜负，简直让这句忠心耿耿的情话完全变成了凉薄的笑话。

如果不是为了迎合大众口味拍什么三角恋搞噱头，那只能说影片的制作方完全误读了原著最根深蒂固的情深与无奈。

ps：我非常喜欢小本，但喜欢不代表无脑吹，也许在这一版被改得面目全非的电影里，小本演一个受尽辜负的少爷是合适的，但却并非是一个盛极而衰的少爷，而是一个落魄已久、无法骄傲、只剩敏感易碎的少爷——像那个小了一号的Aloysius、仅仅一抔的草莓和区区一束用来道歉的水仙。

忍不住去想如果AA的Seb出现在电影里，那他大概带着自己那种无顾绘画与教堂，而寻找花香与蝴蝶的半梦半醒的眼神，早在他们第一次午餐会时——当时Charles在长桌另一头大谈绘画较之相片更有情——Seb早就把他囫囵和教堂之流归为一类，弃之不顾了，哪还有给他辜负自己的机会。

总之说对我而言，小本“演过”Seb，而AA“就是”Seb。

Technically,这不是影评。

我之所以给五星，是给片中前后一致的英伦古典情怀和毫不拖沓的剪辑。

后者对我尤其重要，戈达尔的剪辑虽然名声在外，我还是不断快进，因为我不enjoy看着一些漂亮的脑残女和行为前后互相颠覆的法国男胡搞瞎搞。

我很惊讶看Brideshead Revisited时我没有哪怕一次快进。

这跟选角有关。

Sebastian先颠倒了性别再颠倒了众生，Matthew Goode在我心中的地位，让我不能像其他观影者一样察觉到他的野心。

我的认识还停留在，他在此片中，是一个被美而吸引，先后企图拯救兄妹俩的正常人。

拒绝Sebastian,是出自性取向的本能。

娶妻，是对命运给予的东西淡然接受。

与Julia重拾旧欢，是对昔日没有得到的感情的疯狂反扑。

Let go Julia, 是意识到一己之力在宗教带来的集体无意识面前的渺小。

人，大概只能自救，当你突然伟岸了浪漫了或者超人情结迸发了想带一个女子逃离她过去的残缺人生时，如果她接受了，这是童话；她不接受，这就是部现实作品。

世界上大多数人，尤其是女人，都是没有勇气跟过去一刀两断的，宁可作茧自缚。

Brideshead是美的，所以有爱美之心的Charles对其始终不能忘怀。

这不一定就跟了不起的盖茨比里一样的social climber抱有同样的居心。

至少影片中的细节不能严密地证明这一点。

而生物都是趋利避害的，所以human being Charles就有了他种种的选择和不选择。

再说Julia的选角，不好意思，套用一句法国人形容泰坦尼克女主的经典评价，“简直丑得不能看。

”，长着一张跟茱莉亚比诺什一样三纲五常的脸蛋，还有很masculine的眉毛。

我个人偏好女演员有着柔美的轮廓，可以中性，但一定不能突兀。

尤其不能长得像我老家的海边随手捡一块岩石削几个角就成了张脸，或者跟我小时候拿橡皮泥捏出来的泥人一样拉沓着眼角。

再评价一个情节, Charles用两幅画交换了Julia的自由。

很多人觉得这样improper, 怎么能这样交易呢？

Julia变成了商品多掉价啊？

我当时看了这些观影者的感触很是惊讶，因为我完全就不是这一思路。

我的思路如下：首先，男主找Julia丈夫谈判时抱着就是 “Leave it to me, I will handle it.”的态度。

而我认为男人能讲出的最浪漫的话除了Don't worry, leave it to me就是It’s over, I will take you away.而Charles两个都表达了，所以我不太喜欢女人这时还当怨妇。

再者，谈判，注意，Charles不是在宣布一个事实，是在讨要一个离婚协议。

一旦screw up这个机会成本有多大一定要清楚。

当Rex说what can you offer me?时我觉得Rex真是个理性的经济人，顿时为Charles松一口气，能用钱解决的烦恼就不是真正的烦恼。

要是Rex没那么直截了当而是跟琼瑶戏里面马景涛一样：啊。。。

不要。。

Julia…啊。。

你怎么能这样对我。。。

啊。。

我的余生还有什么意义。。

那Charles谈判的胜算就很小了。

Charles这时，为了迎合主流观众不太能坦然接受这种trade模式时选择了缄默不语。

然后Rex又很贴心地开了价码，两幅画。

作为观众我当时都要乐死了，多便宜啊，自产自销，不用扣除中间费用， C只用将自己abundant的两幅画丢出去就是了，换了个女人。

但是C还是一娘儿们似的一句话都不敢说，跟国共混战时被抓到对方监狱里进行生死抉择似的点了点他那英俊无比的头。

综上，所以当Julia对此心有戚戚时我真是觉得这女人很不理性。

你，以及你那怪石嶙峋的眉眼，以及你被宗教腐坏了的teenie weenie brain, 能够想出一个更好的谈判价格，让你觉得心理上接受吗？

但是这部电影还是太唯美了，以下我还想简述人生还有另外一面。

艺术与生活孰高孰低的分割线我朋友A， 她的双胞胎姑姑，大姑姑跟一个俩孩子都20几岁的40+男人去年生了个小baby。

小姑姑赌搏欠了高利贷，嫁了个差不多民工的人，还是先怀孕才结婚的，没什么收入，然后生的小女孩脚软，每个月要去医院注射1000+RMB的针水，否则过几个月不一定能够走路。

哪怕这样，两个姑姑还是吃着120RMB一斤的虾喝着348/900g的美赞臣进口奶粉；她的表姐，会计师，在上海，剩女一枚，跟一个台湾的有女朋友的男生纠缠不清，后来终于大家谈开了，于是这事就黄了，扯淡了，人家不愿分手。

她表姑，N年前在深圳做酒店前台时就是如花美人，当了某商人的情人，后来年纪大了，回归正途了，跟个弄玻璃厂的小生意人结婚了，开了个小卖部，正正经经平平淡淡。

她一个好朋友，跟男友谈了6年恋爱，结婚前几个月被一个只认识两星期的异乡女人打败了，于是这个devastating的事件让这一女博士之后更加终日郁郁形单影只。

而这女博士的朋友，在校念英语系时跟一个爱写诗的医学系男生相交甚好如胶似漆，毕业结婚后这医学系男生不去工作继续写诗终日写诗，不知养家糊口为何物，女人只好一人养全家，七年后终于离婚远嫁美国。

除去那些琐碎死人的中年人生活，再讲青春期躁动。

我和Lucas在被大雪滞留在伦敦的机场时，我说你给我讲故事吧，于是他告诉我某女S，大家共同的南亚朋友，在本科艰难度日时跟了个40多岁的老男人，男人现在要来伦敦看她，而她打算跟一个巴黎男生在一起把这老男人甩了；某女Y，日本人，遇到了学校里一个对她身体很感兴趣的欧洲人X，X特别喜欢和她OOXX， 而Y付出了真心。

后来Y把她日本的男友甩了却发现X依旧不想跟他女友分，X只喜欢跟Y做爱，非常喜欢，仅此而已。

而Y无论和他做了多少次，都不能令他分手来跟她在一起。

某男M，非常喜欢做爱，既喜欢跟他女朋友做也喜欢跟其他各种女生做。

他女朋友也不介意。

但他除了喜欢跟他女朋友做爱，还喜欢跟她聊天。

这就成了她成为正室的充分条件。

我当时听了就傻了，M, S, Y, X都是我认识的人啊，Lucas住学校信息多，可他从前不是八卦的人，直到在伦敦的最后一天，在Costa里。

跟这些糟糕的凌乱的人生故事比，Brideshead已经很天上人间了。

生活本就如此的艰难，我更喜欢给生活做减法，找个简单的人，也不要什么伦敦巴黎，公园着胡同着就过了吧。

Charles (Matthew Goode): If you asked me now, who I am the only answer I could give for certain would be my name, Charles Ryder. For the rest, my loves, my hates, down even to my deepest desires I can no longer say whether these emotions are my own or stolen from those I once so desperately wished to be. On second thought, one emotion remains my own, alone among the borrowed and the second hand, as pure as that faith as which I am still in flight-guilt. Did I want too much? Did my own hunger blind me to the ties which bound them to their faith? Why only now shadowed by war. All warnings gone. Alone enough to see the light.Brideshead Revisited Script - Dialogue TranscriptVoila! Finally, the Brideshead Revisited script is here for all you fans of the 2008 Matthew Goode movie, also featuring Ben Whishaw. This puppy is a transcript that was painstakingly transcribed using the screenplay and/or viewings of the movie to get the dialogue. I know, I know, I still need to get the cast names in there and all that jazz, so if you have any corrections, feel free to drop me a line. At least you'll have some Brideshead Revisited quotes (or even a monologue or two) to annoy your coworkers with in the meantime, right?And swing on back to Drew's Script-O-Rama afterwards -- because reading is good for your noodle. Better than Farmville, anyway.Brideshead Revisited ScriptIf you asked me now who I am,the only answer I could givewith any certaintywould be my name,Charles Ryder.For the rest,my loves, my hates,down even to my deepest desires,I can no longer say whetherthese emotions are my ownor stolen from thoseI once so desperately wished to be.On second thoughts,one emotion remains my own,alone among the borrowedand the second-hand,as pure as that faithfrom which I am still in flight.Guilt.Been away, sir? Anywhere interesting?- Jungle.- Jungle.Explorer, are we?- Painter.- Painter?So, bye-bye beardy, hello smooth.Famous for his impressivearchitectural portraits,British artist Charles Ryderhas taken New York by stormwith a series of gripping jungle studies.To own a Ryder is currently the dreamof every self-respectingEast Coast millionaire.You must be so proud of him.- Was he away long?- Two years,- and it doesn't feel like a day.- You must feel positively bridal.I can't paintto save my life.Thank you.I can't even hold a buggering brush!But I know what I like. Lots of color.Nice and bright.I see the jungle in your workas a metaphor.Not least, the metaphysical semblanceof the chaos at the heart of civilization.Make an effort, Charles.You're not in South America now.You're amongst civilized people.- Mr. Ryder, I wonder if I could...- I'm so sorry. Excuse me.- Excuse me. Thank you very much....just have a conversation...Hello, Charles.- You're wearing a coat!- Yes, Father, I am.Why?- I'm going up to Oxford.- Ah. Yes.- Remind me. What are you taking?- History.- And what allowance have I given you?- A hundred pounds.How very indulgent of me.Mind you, it all comes out of capital.Oh, I suppose this is the timeI should give you advice.Your mother was alwaysso good at that.Who's meeting you?Cousin Jasper offeredto show me around.Cousin Jasper!Most entertaining.Out of the way,you silly fool.There you are, Charles.This way, please.Come along. As an only child,you will, of course, have much to learn.Though I am only your cousin, Charles,you must look upon me as a brother.Older, wiser,but a brother nevertheless.Now, it is no secret that our familiesare not rich in material wealth.Keep off the grass.But I like to think that we Ryders are,all of us, rich in the striving of minds.Now, then... Not that way.Clothes. Dress as you doin a country house.Never wear a tweed coatand a flannel trousers, always a suit.And go to a London tailor.You'll get a better cut.Protocol. First and foremost,behaving with restraint...Nine adulteries, 12 liaisons,64 fornications,and something approaching a raperest nightly upon the soulof our delicate friend Florialis,and yet the man is soquiet and reserved in demeanorthat he passesfor both bloodless and sexless.Sodomites, all of them. Steer well clear.Treat all donsas you would the local vicar.With indifference.Oh, dear, oh, dear. This won't do at all.You must change your rooms.I've seen many a man ruinedthrough having ground floor roomsin the front quad.People start dropping in.They leave their gowns hereand come and collect them before hall.You start giving them sherryand before you know it they're...Sebastian, come along.Look at the state of him.Come on, you're nearly clean.Oh, no, no, no, sir, stop.You don't clear up after yourself.That's my job.Sorry, Lunt. What's all this?From the gentleman last night, sir.He just called. Left a note for you."I am very contrite."Please come to luncheon today.Sebastian Flyte."The Lord Sebastian Flyte,don't you know?I'm sure it's quite a pleasureto clear up after him.I take ityou'll be out to lunch today, then, sir.Yes, Lunt. I think I shall be.I've just counted them.There's five each and two over,so I'm having the two.I'm unaccountably hungry today.I put myself unreservedlyin the hands of Dolbear and Goodalland feel so druggedI've begun to believethe whole of yesterday eveningwas a dream.Please don't wake me.- Do try one.- Thank you.- What are they?- Plover's eggs. The first this year.Mummy sends them from Brideshead.They always lay early for her.You would, too, if you knew my mother.Are you terribly angry with meabout last night?No, not at all.Thank you for the flowers.Aloysius, you can't go there.Do sit down.- Tell me about you.- Me?I'm in my first year, reading history,but really what I most want to beis a painter.Would you like to paint me?Well, yes. Yes, if you like.It's so clever of you,knowing what you want.I've no idea what I want.Except to be happy.If I can.Let's have some champagne.A glass each before the rowdies arrive.You don't want to join the Old Boys.They're all bloody drugged bogsor collegers.Top me up,will you, old man?- I don't remember you from Eton.- I didn't go to Eton.Oh, really. Where then?Harrow or Winchester?Rugby? Oh, not Charterhouse, I hope?You wouldn't have heard of it.There are other schools,you know, Boy.Yes, I suppose there must be.- My dears.- Hello, Blanche.Hello, Blanche.I couldn't get away before.I was lunchingwith my preposterous tutor.I told him I had to change for footer.Anthony, you remember Charles.From last night?Charles is reading history,but he wants to be an artist.- No!- Why ever not?- Either you are an artist or you are not.- Hear, hear.- Then I am.- Interesting.You have about youa distinct hint of the pragmatic.What do you want to be an artist for?I mean, what's the point of it?Why don't you justbuy a bloody cameraand take a bloody photographand stop giving yourself airs?- That's what I want to know!- That's it, go it, Boy!- I don't give myself airs.- Yes, you do.And, anyway,you haven't answered my question.Come on! Answer!- Answer, answer, answer, answer...- Yes.Answer, answer, answer, answer...Because a camerais a mechanical devicewhich records a moment in time,but not what that moment meansor the emotions that it evokes.Whereas a painting,however imperfect it may be,is an expression of feeling.An expression of love.Not just a copy of something.And who on earth do you thinkcares about your feelings?I do.Boy, you're an oaf. Behave yourself.To art and love.To art and love!We'd just arrived in his rooms, then,without even a, "By your leave,"the Lord Flyte pokes his headthrough the window and vomits.Ground floor rooms, you see.Poor Charles may never recover.- Morning, Jasper.- Morning.Two tries out of you today...Charles. You're to come away at once!I've got a basket of strawberriesand a bottle of Chateau Peyraguey,which isn't a wine you've ever tasted,so don't pretend.It's heaven with strawberries.Just the place to bury a crock of gold.I should like to burysomething preciousin every place where I've been happy.And, then,when I was old and ugly and miserable,I could come backand dig it up and remember.Come along, Charles.There's someone I want you to meet.- Is this where you live?- It's where my family live.Don't worry,you won't have to meet them.- Oh, but I should like to.- You can't. They're away.Everything's shut up.We better go this way.Keep up.Charles. Charles.Well, this is a surprise!How lovely to see you.Meet my new chum, Charles.Charles, this is Nanny Hawkins.This is who I wanted you to meet.- I don't think I know you, do I?- How do you do?Your friend has charming manners.What family are you from, Charles?- No family. I mean, no one important.- Charles is an artist.- He's going to paint me.- How jolly.You've come at just the right time.Lady Marchmain'son her way up from London.It's the Conservative Women's Tea.They always turn out for Brideshead.I'm afraid we may haveto miss them, Nanny.Your mother will be disappointed.I'm sure Her Ladyshipwould want to meet...Can't be done, I'm afraid.Got to get back or we'll be gated.I pray for my dear Sebastian every day.- Charles!- It was very nice to meet you.- Come along, Charles.- Couldn't we just have a quick look?We've seen who we came for.We can go.Just a little look.Don't be such a tourist, Charles.If you're that keen,you can see it all for a shillingon Queen Alexandra's Day.God, I loathe that painting!I could show you the chapel, I suppose,if we're quick.What did you do that for?- You're not Catholic, are you?- No.- I was just trying to fit in.- Well, don't.Come on, come on!Sorry, I'm afraid I don't have the knack.Charles, what are you doing?Car. Now.Who was that in the carwith your mother?- My sister.- What's she like?For goodness sake, Charles,I don't keep asking you questionsabout your family.But I've neverasked you anything before.You're so inquisitive.Well, you're so mysterious about them.I hoped I was mysteriousabout everything.Why don't you want meto meet your family?Who are you ashamed of, them or me?Don't be so vulgar, Charles.I'm not having you mixed upwith my family. You're my friend.I don't have a family.You have me.Sebastian and Charles,contra mundum.Contra mundum.Father?Father?- Back already?- Term's over.So soon?Thank you.- Father, I have to leave at once!- Oh, yes?A great friend of minehas had a terrible accident.- I must go to him.- May I?"Gravely injured.Come at once. Sebastian."I'm sorry you're upset.Reading this message,I would say that the accident was notas serious as you seem to suggestor it would not have been signedby the victim himself.Still, of course, he may well befully conscious, but horribly paralyzed.Remind me.Why is your presence necessary?I told you, he's a great friend.Well, I shall miss you, my boy,but don't hurry back on my account.Take your bag, sir?Excuse me!Are you Charles Ryder?Yes. Sorry. Hello.I'm Julia, Sebastian's sister.I've been sent to pick you up.Hop in, Mr. Ryder.- Case in the back.- Sorry, yes.How's Sebastian?- He's fine.- Fine?Did he tell you he was dying?Well, I thought... His message said...I expect he thoughtyou wouldn't come if you knew.He's not badly hurt, then?He cracked a bone in his footso small it hasn't even got a name.- How did it happen?- Playing croquet.I must admit,I did think it was a little queer,you traveling all this wayfor a croquet injury.I don't mind.It's wonderful to be here again.Is it? Why?Well, it's such a beautiful house,for one thing.I can't stand the place.Be an angel and light me one.There you are, at last!- I thought you were dying.- I thought I was, too.The pain was excruciating.Julia, ask Wilcoxto fetch us some champagne.- I hate champagne.- For our guest.Well, take your coat off. You'll boil.Come along, Charles.I thought you hated champagne.I do.I suppose Sebastian's told youall about us?No. No, nothing at all,as a matter of fact.And nor should I.What?- I take it you're not one of us?- Don't answer.I don't live like this,if that's what you mean.She means you're not a Catholic.Sorry, no. No, nothing at all.- You mean you're an atheist?- Well, yes, I suppose.Strictly speaking, we're C of E,but Father only ever goesfor Christmas and funerals.He likes those.- What about your mother?- She's dead.I was very young.She died working for the Red Cross.Which, given her devotion to good,does rather point upthe arbitrariness of it all.I see. So, you're here arbitrarily?He's here as my friend.Given Mr. Ryder'sstaunch position on religion,don't you think he ought to knowwhat he's getting into?Leave Charles out of it.- Tell me.- Oh, God.Mummy takes her faithvery seriously, indeed.So seriously, in fact,that our fat little priest, Father Mackay,called her a living saint.Mind you, he drinks.Sebastian and Iare a couple of heathens.I'm not a heathen, I'm a sinner.Cast out from God's love.As for you,you're not a heathen at all, not really.Why do we always end uptalking about family?It's time for my bath.Good evening, Mr. Ryder.Look after my brother.I don't think your sisterlikes me very much.I don't thinkshe cares for anyone much.I love her.She's like me.Drink in remembrance of me.Hang on.In fact, I know that that's checkmate.Come here.If only it could belike this always.Always summer.Always alone.Fruit always ripe.Cheers.Now,try this.- No?- It's a shy little wine. Like a gazelle.- Like a leprechaun.- Dappled in a tapestry meadow.A flute by still water.This is a wise old wine.A prophet in a cave.And thisis a string of pearls on a white neck.- A swan.- The last unicorn.Who's that?- Is that your brother?- Yes, that's Bridey.- He seems all right to me.- Wait till you meet him.Mother.Hello, there.Go away,we're not decent!- Mummy's here.- We know.She's invited Charles to dinner.It's not what weagreed upon, Sebastian,when we talked about thisat Christmas, when you came down.It's no use crying, darling.That's just childish.That's not going to help, is it?You see, darling,whatever yesterday's sins,we must all pray for God's forgiveness.So now, you try and try again now.Be a good boy.For God and for Mummy.Now, just put your shirt on now.Dining room's this way.Is Sebastian all right?He seemed upset.Oh.He and Mummy often have these talks.Flannels for dinner?Very bold, Mr. Ryder.- Will your mother mind?- Yes, she'll be appalled.No, don't worry.She'll be understanding.- Do you often do that?- What?- Say one thing, mean another?- Yes and no.Thank you.- Amen.- Amen.Welcome to Brideshead, Mr. Ryder.I've been hearing all about you.I do hope you didn't let Sebastiancall you away in too much of a rush.I'm afraid I didn't quite have timeto pack the right things.Sebastian must lend you some clotheswhile you're here.Or perhaps Bridey's a better fit.Are you a Brideyor a Sebastian, Mr. Ryder?He can't borrow Bridey's clothes.Bridey dresses like a bank clerk.Don't be vulgar, Cordelia.Vulgar is not the same as funny.I hope you've beenlooked after properly, Ryder.Has Sebastianbeen seeing to the wine?Yes. Sebastian's beenseeing to the wine.Delighted to hear it.- You're fond of wine?- Yes, very.I wish I were.It's such a bond with other men.At Christ Church, I tried to get drunkmore than once, but I didn't enjoy it.What do you enjoy, Bridey?Hunting, shooting,fishing.And what form do your pleasures take,Mr. Ryder?- Sorry, pleasures?- Your hobbies.- What do you do to relax?- He drinks.Drinking is not a hobby, Sebastian.- You live in London, is that correct?- Yes.- Whereabouts?- Paddington.You live in a railway station?No, no. Sorry. No, I live nearby.I see.And has this ledto an interest in trains?No.So, are you closewith Sebastian's crowd?Not really.- With Anthony Blanche?- We're acquainted.Charles is a painter, Mummy.How charming.We must get youto paint something for us.- Would you do that, Mr. Ryder?- I'd be delighted.I think Brideshead's the mostbeautiful house I've ever seen.- It's utterly magical.- How kind you are.Summer at Brideshead.Mr. Ryder must stay with usfor the rest of the vacation.As a matter of fact,I've just heard from Papa.He wants me to go and see himin Venice. And Julia.I see.And do you intendto accept this invitation?Yes. Why not?What about you, Julia?Will you be going?I'd like to.Wouldn't you ratherstay at Brideshead?Well, yes, if you want me to.- You must not neglect your duty.- No, Mother.I think we might spend a little timein the chapel after dinner.- Would you join us, Mr. Ryder?- Thank you.You do know Charles is an atheist?An agnostic, surely.Actually, no.But you'll join us, anyway,out of curiosity.Thank you.- No Sebastian?- No, Mummy.Charles, are you really an atheist?- Yes, I am.- How awful for you.I'll put you on my prayer list.I have a long list of people I pray for,including six black Cordelias in Africa.It's a new thing. You send five bobto some nuns in Africa,and they christen a baby after you.Right.Thy will be done,on earth as it is in heaven.Give us this day our daily bread,and forgive us our trespassesas we forgivethose who trespass against us.And lead us not into temptation,but deliver us from evil.Amen.Have you everbeen to Venice, Mr. Ryder?No. No, I haven't.Every ambitious young manshould visit Venice.It makes one sound more complete.I was thinking, if Sebastian were to go,it might be a good thingif you were to accompany him.He needs someone plausibleby his side.I gather last time he was there, he wasbefriending some very odd types.It's youthful high spirits, I understand,but in the end,we must all accept God's limits.Atheist, or no.I know I can rely on you.You seem to mea very reliable young man.- San Giovanni e Paolo.- Oh, dear.I can seeyou're going to be impossibly curious.By the way, I should warn you.Our lovely father is rather a scoundrel.He livesin one of the palazzos with Cara.- Who's Cara?- His mistress.Poor Papa's rather shunned by society.Not the Italians, of course.They adore him.- Santa Maria dei Miracoli.- I know. I've seen the postcard.- My dear boy!- Darling, Papa.- You look so young!- Do you think so?I've taken to playing tennisat the Lido with a professional.Cara thinks I'm getting far too fat.Julia, come here.- Father.- My child.- I wasn't sure if you'd come.- Mummy gave me her blessing.Blessed by your mother.What a saint that woman is.You know, I used to try everythingto please her.Julia, this is your friend, Mr. Ryder?- Charles is my friend, Papa.- I see.- Delighted.- How do you do, sir?- Welcome to Venice.- Here's Cara. Now we can eat.Come along now. This way.Don't look so greedy. It won't go away.Sorry.I wasn't sure you'd come to Venice.Your father seemedpleased to see you.I'm not sure Fathercares much if I come.He'd probably be just as happyif it was only Sebastian.They adore each other.They're alike in so many ways.- Who are you like?- Me?Oh.Nobody.I'm the family shadow.Drinks.- Julia.- Cara.Mr. Ryder, Sebastian tells meyou are a painter.- Charles is an artist.- Good.Well, then I will show you all thegreat art of Canaletto and Veronese.He never goes anywhere.Such a philistine.I don't mind the art.It's religion I can't stand.The Italians seem unableto paint anything half decentwithout putting Christ dying in it.Of course, your mother loved Italy.- A piet?on every street corner.- Don't be cruel.On the contrary, she'd be flattered.God was always her first love.- Mummy loves all of us equally.- Come now, Julia.You were the one who walked away!What must you think of us, Mr. Ryder?- A family of monsters, are we not?- No, not at all.I lost my mother when I was young.Tell me, Mr. Ryder, as an artist,what did you make of Brideshead?I thought it was magnificent.You think that? Really?And now, here you are in Venice.What a lot of temptations.He walks for two hoursevery day. He wants to be immortal.But he's quite fragile, you know, inside.That woman nearly suffocated him.- She's been very kind to me.- Oh, yes. I'm sure. But you will see.Well, just look at her children.Even when they were tiny,in the nursery,they must dowhat she want them to do,be what she want them to be.Only then, would she love them.It's not Lady Marchmain's fault.Her God has done that to her.But surely you're Catholic, too?Yes, but a different sort.It's different in Italy. Not so much guilt.We do what the heart tell us,and then we go to confession.Sebastian loves you very much, I think.There you are.They're very good,these romantic English friendships,if they don't go on too long.For you, it's just a,how do you say, "a phase"?But I think it's more than thatfor poor Sebastian.Tread carefully, Mr. Ryder.Come on.- Hello.- No! No!Come on.Got you.- Can't sleep.- Try pajamas.I enjoyed the beach today.I hope I wasn't too rough.You were very sweet.Charles?There you are.Sorry.Lots to drink.I'm so glad you're here.- I'm glad you're here.- I'm glad I came.- Did I say I'm glad you're here?- You're really glad I'm here?Let's get plastered.- If you want.Oh, yes, I do. I want. I want.There's a wonderful chapelnear here!You will see a masterpiece, I tell you.The devil's got his eye on you!Well, then you must protect me.Julia!Julia.I got lost. All those people.What are you doing?What's the matter?No!Funny old religion, isn't it?Sebastian,what happened just now...I never meant you to...If I'd known it was going to happen,I'd never have...I don't know what I'm supposed to...Checkmate.I'm boring you.Perhaps it is dull for you here.You've been enjoying yourself?- I've been in Venice.- Oh, yes, yes, I suppose so.The friend you wereso much concerned about, did he die?- No.- I'm very thankful.You should have written to tell me.I worried about him so much.Watch out, Flyte!- Sebastian!- Sebastian!- Leave me alone!- Damn. Where is he? The bastard.- Who?- Mr. Samgrass.- Who's Mr. Samgrass?One of Mummy's gang.Fat little Catholic from All Souls.Bastard's been set up to follow me.I wouldn't mindif he wasn't so infernally ugly.God, I feel a hundred years old.Why haven't you called round?I've been worried.I was beginning to thinkthey hadn't sent you up.- Since Venice.- Yes.- Damn! There he is again.- Who? What are you talking about?- Mr. Samgrass! There!- Do you mind?Mummy's hired him to watch me.- What does he want?- My head on a plate.Look, if he's bothering you,I can stop him.Dear Charles, always so certain.- I'm not certain of anything.- Aren't you?By the way, Mummy's here.She has to talk to you.Probably wants youto spy on me as well.Don't be like that.Why don't I come roundto your rooms later?I'm not sure I want to see you anymore.I'm so sorry.So, Charles,- how was Venice?- Venice was fine.- A strange way to put it.- It was beautiful.Speaking as an artist or a man?I want a word with youabout Sebastian.I'm concerned about him.- Tea?- No, thank you.- Why? Should I be?- He's drinking too much.You must have noticed.After all, I sent you to look after him.Yes, I supposewe both drink too much, really.No, not at all. You drink to get drunk,Sebastian drinks to escapethe claims of his conscience.I do wish I could understandwhy he's so particularly upset.Ever since he came back from Venice,he's been unreachable.- Did something happen there?- No.- You all had a good time?- Yes.I wonder what it could have been.I hope you didn't let Julia mislead you.- I don't understand.- I think you do.Please understand,I would not want youto make yourself look foolish, Charles.Her future is not a question of choice.It is a matter of faith.Were it simplya difference in upbringing,this I might overlook.But you are a self-proclaimed atheist,and my daughteris destined to marry a Catholic.God commands and we obey.However, we're forgetting ourselves.We're here to talkabout your friendship with my son.I'm not sure Sebastianwants to be my friend anymore.Because of Julia?But that is all cleared up now.We're giving a ball for Julia's 21 st.I'd like youto keep Sebastian company.You came to Bridesheadas my son's friend.If you haveunaccountably offended him,it is surely not too much to askthat you revisit your responsibilities.- To him or to you?- To the family.And, of course,Brideshead does look particularlybeautiful at this time of year.Tell me, I'm curious.Since, as you claim,you have no religion,what do you imagineyou are doing on this earth?Living my life, the same as you.But without faith,what could your purpose possibly be?I want to look back and say that I wasalive.That I didn't turn my back. That I tried.That I was happy.Happiness in this life is irrelevant.All that matters,the only thing of consequence,is the life hereafter.Ready for the off.A beautiful day for it, isn't it? Come on.Funny, isn't it?It's my little present to the family.- Rex Mottram. How do you do?- Charles Ryder.Good to meet you, Charles.Heard all about you.We should compare notes some time.- Going on the hunt?- I don't think so.Wise man. Load of Englishblue bloods on horseback.Got to fit in, though!Who is it?It's me.You could have knocked.I nearly spilt my drink.I did.Sit down.If only it could be like this always.- Always summer.- Ancient history.Pass me a towel.Where's that damn shirt?You're shaking. What is it?What's the matter?Don't you know, Charles?"Why this is hell, nor am I out of it."- Sebastian, if I've ever done anything...- It's not you.It's me.For God's sake, do stop mooning at melike a great big cow!I'm fine.I'm fine so longas I've got plenty of this.I want you to know thatwhatever happened in Venice,I'm not in your mother's gang,if that's what you think.I'm on your side.Contra mundum.Dear Charles,you're not in anybody's gang.That's always been your problem.Why are you going on the hunt?I thought you detested hunting.I do.I'm going to leave Brideyat the first covert,hack over to the nearest pub,and spend the whole day drinking.If they treat me like a dipsomaniac,they can bloody wellhave a dipsomaniac.Well, they can't stop you.They can, as a matter of fact,by not giving me any money.They've stopped my bank account.I've pawned my watchand cigarette case.That lasted for a bit,but that's all gone now.So, regretfully...Sebastian, I can't do that.- I thought you were on my side.- I am.Well, then.Look, why don't I come with you?It's miserable drinking alone.We could get drunk together,like we used to.No.I'm past all that.Thanks for the offer.Well?Are you with me or against me?Little bit further upon the shoulder, though.Sarah, look.Sort of up here.Ladies and gentlemen,it gives me great pleasure to announce,on top of the birthday festivities,the engagement of my eldest daughter,the Lady Julia Flyteto Mr. Rex Mottram.Yes, it's marvelous, isn't it.- Thank you, Charles. I'd love to dance.- Cordelia.- Cordelia, I'm...- Come along!- Charles?- Hmm?I hope you don't mind me asking,but modern art,- it is all bosh, isn't it?- Yes, it's all bosh.Good. I thought so.Get a grip, Charles!Rex! Rex, I need a better dancer.Yours for five minutes and no more.- Come along.- Okay.You're rather tall, aren't you?Is that a handicap?Why didn't you tell me?It's not Sebastian. I don't believe that.Charles, I can't do this.- When we kissed...- Please, stop!Why? It was wonderful.I know.I think about it all the time.I have no choice.- Oh, Sebastian.- Never mind.- Oh, Charles.- Don't!- Come along, old boy.- I don't want your help.You're in tweed, Sebastian.This is a ball.Bugger off, Bridey.You're worse than wet.You see... What it is...I hate you all so very much!- Sebastian.- Get off me!You don't care about me!All you ever wantedwas to sleep with my sister!Okay, Sebastian, that's enough.All right. I'm going.Charles,did you give Sebastian money today?Yes, I did.Knowing how he was likely to spend it?Yes.I don't understand.How could you be so nicein so many ways,and then do somethingso wantonly cruel?We all liked you so much.I don't understand how we deserved it.Do you think it's betterto make him feel like a criminal?Having him watchedevery second of the day?But you deliberatelyhelped him to drink.You're the reason he drinks,not me.All I did wastry to give him a little freedom.No, you just wanted him to like you.You're so desperate to be liked.I think you should leave now, Charles.Hello, there.Would you like me to hold the ladder?Yes, thanks.I'm Celia Mulcaster, by the way.Charles Ryder.I saw your paintings in the brochureand thought how charming they looked.No need to look so gloomy.If I had half your talent, I'd be delirious.You can thank me, if you want.Thank you.Would you like meto buy something now?Silent and grave,and then "pop," mouse is dead.- Charles.- Lady Marchmain.Thank you, Father.I'm so glad your sondidn't die of his injuries.Please, sit down.I'm fine, thank you.How did you know where I lived?My driver found you.The Ryders of Paddingtonare limited in number.I hear you have your first exhibitionat the Royal Academy.Congratulations.I'm sure you're not hereto ask me how I am.No. The last time we saw each other,it's true I spoke rather harshly.I'm not here to apologize.What I said, I meant.I took you into my confidence,and you betrayed me.I do hope you're not asking meto agree with you.- I act only as God directs.- Rubbish.God's your best invention.Whatever you want, he does.- I am not here to argue with you.- Good. I'm glad to hear it.The reason I calledwas to ask you a favor.A favor?Sebastian's gone missing.He's in a house in Morocco.I'm worried about him.I need you to bring him back.You banish me from your house,you poison my friendshipwith both your childrenand now you expect meto go begging on your behalf?There's no one else I can ask.Even if I were to agree,what makes you think Sebastianwould take any notice of me?Because he cared for you morethan he ever cared for anyone else.All I ever wanted was to see them safe.And all they do is hate me.I'll be at Brideshead.You may send word to me there.Driver!Driver!I'm looking for Sebastian Flyte.This is his house.- Who are you?- I'm his friend.In the local hospital.When you see him,tell him I'm still here.Your friendhas got the grippe.One of his lungs is full of fluid.He will recover. But travel with you?Not a chance.He's very weak. No resistance.What do you expect?He is an alcoholic.Here is your friend.What the hell are you doing here?Your mother asked me to come.She wants me to bring you back home,but the doctor saidit's out of the question for you to travel.I wouldn't, even if I could.I think...I think she's dying.Walk with me. I'm meant to exercise.Did you go to my house?Did you meet Kurt?Yes.He wanted you to knowhe was waiting for you.It's rather a pleasant change,when all your lifeyou've had people looking after you,to have someone to look after, yourself.I thought you'd want to go backto Brideshead one day.Brideshead?Are you mad?The place would still be full of her.I wouldn't go withina hundred miles of the place.I need to sit.I'm sorry.Whatever for?Everything.It's all right.Truly.I asked too much of you.I knew it all along, really.Only God can give you that sort of love.Come home, Sebastian.When you're well enough.Don't finish it like this.This is my life now.I'm happy here.I miss you.How sweet of you to say that.Dear Charles,it was my fault forbringing you to Brideshead.Run away.Run far away and don't ever look back.I'm sorry.You must be so proud of him.- Was he away long?- Two years,and it doesn't feel like a day.Hello, Charles.Did you know I was on the boat?If I said no, you wouldn't believe me.You're married now.Yes.- You haven't changed at all.- Neither have you.- How ridiculous.- Yes, isn't it?Tell me this is fate.- What?- Nothing.Tell me.I was thinking about Sebastian.Mummy died withoutever seeing him again.I know.Let's go up on deck.- Are you sure?- They're all asleep! Come on!Come on!Sorry.- So where's Rex?- I drowned him.Forgive me, Rex!Lady Julia, fancy meeting you here.- Mr. Ryder.- Could I possibly get you a drink?Dry martini, please.One dry Martini,one whiskey with water.Please, allow me.So, why did you marry Rex?I don't know. Because he wasn't you.- Because he was rich.- Because he was Catholic.Because Mummy approved,God rest her soul.I thought he was my painted savage.It turns out he wasthoroughly up to date.Thank you.Now, no more talk about Rex.He's in England.- Do you have children?- No.No.- What will you tell your wife?- Wait until London.I have a viewing to arrange.I'll sort it out. It'll be fine.- Where shall we go?- Somewhere abroad, like Daddy.- What about Italy? Capri?- Antibes.- Seville.- Verona.- Paris.- Brideshead.- No!- Why not?- It's the loveliest place on earth.- I can't go back there.- Not after this.- Nonsense.- We've nothing to apologize for.- No.Besides, Rex is there.Leave it to me.I'll settle things with Rex.I'll settle everything.Trust me.I do.- And stop worrying!- I will.Good afternoon, ma'am.- Lovely day.Mr. and Mrs. Ryder.Look, that's the Dukeand Duchess of Clarence.- They want to buy one!- How very gracious of them.Make an effort, Charles.I've got you the cream of Mayfair.Mrs. Ryder, good day.Charles, how charming you look.Anthony.I heard, quite by chance, at a luncheon,that you were having an exhibition.So, of course, I dashed impetuouslyto the shrine to pay homage.Where are the pictures?Let me explain them to you.This is simply charm.Simple, creamy, English charm,playing tigers.But enough of art.They tell me you are happy in loveand that is everything, isn't it?Or nearly everything.Everyone's talking about it.So, it's Julia now.And it used to be Sebastian.Do you think I should warn her?Warn her about what?How apropos that you'd havechosen jungles for your canvas.I always thought youwere the lamb to be slaughtered,when all along it is theywho are hunted.There really is no end to your hunger,is there, Charles?Why do I feel so nervous?- Don't be.- Who are all these people?- Politicians, money men.Rex thinks there's a warcoming with Hitler.He wants to do well out of it.- It's all he talks about.- Hello, Julia.- Hello, Rex.- Good evening, Rex.Mr. Ryder,welcome back to Brideshead.I hear you're makingquite a name for yourself.- Could I have a word with you?- Later, I have guests.It's cold.Not here!- Sorry.- Let's go back to London.- Let me settle everything with Rex.- And then we'll leave?- Yes? Charles?- Yes.If that's what you want.Hello, Bridey.- Hello, Julia. Just up from London?- Yes.Welcome back to Brideshead, Charles.- How's your family?- Fine, thank you.- Rex still entertaining?- He's got business.I'm sorry he's not here.I have a little announcement to make.Well, come on. Out with it.- I'm engaged to be married.- Congratulations, Bridey.Well, who is she?- No one you know.- Is she pretty?I don't think you couldexactly call her pretty."Comely" is the wordI think of in her connection.She is a big woman.- Fat?- No, big.She's called Mrs. Muspratt.Her Christian name is Beryl.But, Bridey, where did you find her?Her late husband, Admiral Muspratt,collected matchboxes.You're not marrying herfor her matchboxes, are you, Bridey?No, no.Matchboxes were leftto Falmouth Town Library.I'm just holding them for collection.Why are you laughing?- I hope you'll be very happy.- Thank you.- I think I'm very fortunate.- You sly, old thing.When are we going to meet her?You must bring her here.- I couldn't do that.- Why not?Well, you must understand,Beryl is a womanof strict Catholic principle,fortified by the prejudicesof the middle classes.I couldn't possibly bring her here.I don't understand.It may be a matter of indifferenceto you,whether or not you chooseto live in sin with Charles,but on no account would Berylconsent to be your guest.How dare you talk to her like that?Bloody offensive thing to say!Really, there was nothingshe could object to.I was merely statinga fact well known to her.Take no notice of him, my darling.So,got you. Sorry about the delay.I'll be outside.The door? Door's madefrom all the works of Dickens.I had it installed especially. Want one?No, thank you.I know what you're thinking.How vulgar can it get?You wanna know the secret?I do it on purpose.It amuses me to offendtheir delicate sensibilities.So, you wanna take my wife off me?You know she can't marrya divorc? right?- Against the rules.- Well, at least she'll be free of you.She'll never be free.Don't pretendyou've been faithful to her.Who said anything about faith?I bet you'd love to get your handson the house, though, wouldn't you?All those pretty paintings.All those pretty views.Let her go, Rex. You never loved her.The only thing you ever hadin common was religion.Wrong. When I decided to marry Julia,I wasn't a Catholic.I converted before the wedding.Bet she didn't tell you that.- I guessed.- Oh, yeah?You're the type.You people,you never learn.You could have had it allif you'd been a little more flexible.I did what I had to do.They want a Catholic,I'll convert to Catholicism.It's a great religion.You sin all you want, then you confess.Problem solved.You gotta woo these people.This family don't live in the real world.- They're mortgaged up to the hilt.- Get to the point.You want my wife? Make me an offer.- I'm not just giving her away.- Don't do this. It's demeaning.Try a little harder.You're a rich man, Rex,you've already got what you wanted.You can never have enoughof what you want.No, you're right.You're taking her off my hands.That's a favor.I'll tell you what I'll do.You give me a couple of your junglepics, and I'll give you an annulment.I hear you're worth collecting.Come on, Charlie boy, say yes.You know you want to.You don't have to speak.Just nod.I'll have my driver take me to London.He can pick up the paintingsin the morning.You know she's mad.Can't even give you children.Lost the only one we had.Julia?I'm so sorry. I didn't know.- It's just a shock.- Shh.Shh. Don't.I've always known, ever since nursery.I tried to be good, I really did.I tried. I married Rex.All through the backgammonand cigars, I tried.But it's not enough. It's never enough.God had to punish me.So he took my little stillborn...My child. My girl.With you, I thought I couldreally and truly be free.But coming back here, it's like a thread,an invisible thread drawing you back,inch by inch,until all of a sudden,you're a child again.And that voice inside your head,the one that Mummy plantedall those years ago in the nursery,every night in the nursery,filling your head with it.And the voice is telling you,whispering,"Wicked little Julia,bad little girl, living in sin."And here I am again with you,living in sin.It's over. It's over now.- Everything set?- That's everything, sir.- Thank you, Wilcox.- Best of luck, sir.Who's that?Go back. Turn around.I have to go back.- Staff, immediately!- Yes, sir.Come on, quickly now!I'll help with that.Come on, hurry!- Yes, sir.Shall I help, Tompkins?- Hurry!The sedan chair.- Right, very gently. Very gently.Hurry.- Get a move with the chair.Come along, come along.Somebody got the rug?Up. Gently.Clear the stairs, please.- Could I have the medical bag?- Father!- Dear Julia.Come on, please. Come on!I'm sorry, I was to call,but we have been travelingwithout a stop for three days.It was Cordelia,she was visiting us in Venice...What happened?- We want the bed readyas soon as possible.His heart. Some long word at the heart.Hurry up.He's dying.He has come home to die.Come on, everybody, that's it.Chop-chop.Come along.We must get Lord Marchmainto the great dining room.Thank you.He's sleeping.Do you think we shouldlet Sebastian know?You could, but I doubt he'd come.The last I heard of him,he was still struggling rather.The monks have him as a porterin the hospital in Morocco.He seems to like it.I think they've rather taken himunder their wing, dear old thing.Still, salvation of a sort.Bridey, you need to call for a priest.I'll have a word with Father Mackayabout dropping in this evening.Julia, your father doesn't want a priest.All he wants is to die in his old home.Our father's soul, all sinners' souls,face mortal danger.It is our duty as Catholicsto see that we do all in our powerto save those we love from themselves.Hateful woman.She wants me dead.What about you?- Do you want me dead?- No.You know the familyare sending for a priest.They seem determinedto drag God into it.Why should you care?You don't believe in God.You said so yourself.Have you suddenlybecome my conscience?I've already seen Sebastianruined by God.I don't see why I should watch ithappen again with your daughter.How very caring of you.You forget, I was there.I watched that woman crucify my son,little by little, and I was silent.What does that say about me?You're not responsiblefor what she did.But are we not alsoour brother's keeper?You, Charles, and me?I let Sebastian down.I let everyone down.This way, sir.Dear, no, that's too many!- Papa...- Your father needs to rest!- Get him away.- I've brought Father Mackay to see you.- Get him away! Get him away!- Out!Everybody out! Out! Out!- I'm so sorry, Father.- Not at all. Give him time.I've known worse casesmake beautiful deaths.What were you talkingto my father about?He doesn't want a priest.Please, Charles.Please don't interfere with mattersthat don't concern you.Julia...Let's get out of here.We'll go to Italy.- Capri.- I can't leave now, my father's dying.When this is over,I can make you happy.- Why should I believe you?- Believe me.You just bought me from Rex.What are you talking about?According to you,I'm worth two pictures.I thought I'd fetch at least three.Don't be ridiculous.- That was Rex.- You agreed to it, Charles.- I had no choice!- You agreed!I thought I was doing the right thing.I thought I was doing what you wanted.No, you thought you were getting meand the house, together.- Is that really what you think?- You tell me. Please, tell me.What does Charles Ryder really want?Can you imagine what it was likefor me to be invited into Brideshead?Me,Charles Ryder,"the painter from Paddington,"as your mother so sweetly put it.There was no humiliationI would not have enduredjust to be part of that dream.And your mother, that woman is morealive now than she ever was.She's in every brick,every stone, every slate.Sebastian was right.We should run away.- Why did you bring me here?- We can still leave.- Bridey...- Don't interfere, Charles.Now, try and remember your sinsand tell God you're sorry.I'm going to give you absolution now.And while I'm giving it,I want you to tell God you're sorryyou offended him,and then I want youto make a sign, if you can.- Amen.- Amen.Amen.Please, God,please, if you're there, forgive him.Forgive me. Oh, God, forgive me.Let him have a sign.Sebastian used to loathe this painting.Daddy gave it to Mummyas a wedding present.Tell me.I wanted too much.It's nobody's fault.But you're not coming with me.I can't shut myself off from His mercy.Can you understand that?I don't want to make it easier for you.I hope your heartbreaks.But I do understand.I have to let you go.Whether by fate or thedivine ironies of some higher power,I find myself returned once moreto Brideshead.Let it go.Did I want too much?Get him out of my sight!Did my own hunger blind me tothe ties that bound them to their faith?Am I only now, shadowed by war,all moorings gone,alone enough to see the light?Worst place we've struck yet.No facilities, no amenities,and the nearest villageis a five-mile walk.Mind you, there's a rumorof a big push coming.They'll be shippingus off to France soon.Yes, very soon.Where are the family now?Does anyone know?Some Lady Flyte liveson her own here, normally.She's overseaswith the women's service.Her elder brother died in the Blitz.They're all Roman Catholic.- I take it you're not religious, Hooper.- Me? God, no. Can't see the point in it.You're born, you live, then you die.Do you have any hopesfor the future, Hooper?Hopes? Oh, aye, plenty.It's our time now. You watch.The old ways, all this, they're gone.Future belongs to us,so long as we don't get shot.How about you, sir?You got someonespecial waiting for you?Me? No.I've loved and lostfor more than one lifetime.Would you like meto drive you back, sir?No, not yet. Carry on, Hooper.Very good, sir.Sergeant!Special thanks to SergeiK.

查尔斯·赖德想要的到底是什么？

作为平民大学生，周旋在一个贵族家庭的两代人之中。

受老妇人的委托照顾贵公子，有点象《天才瑞普利》；原著中两个牛津同窗多少有些暧昧的关系变得明目张胆，有点象《莫里斯》；出入贵族之家，追求贵族小姐，又有点象《红与黑》……只是哪一个都象得不那么彻底，相比之下没有以上任何一部作品的深度，与众不同的宗教争论也深入不下去。

《故园风雨后》（Brideshead Revisited）08版的电影整个感觉就是这么十三不靠，不左不右不高不低，希望各方都讨好却哪一方的痛脚都不敢触及。

没看过小说原著，据说曾经引进过81版的电视剧，不记得看过，或者是已经没有了印象。

相信是注入了好莱坞的金钱，英国的艺术品味也就没了本色。

塞巴斯蒂安一开始就说查尔斯知道自己想要什么，这让压抑而迷茫的他羡慕不已。

查尔斯学的是历史，想当的是画家，传统与时尚都是他的追求，虚荣与情感都是他的渴望。

但如他所说，想要的太多，以至于那些爱与恨、追求和渴望到底是不是自己的都已经说不清了，自己是谁的答案也只剩下一个名字。

总的来说这部电影可能更接近《红与黑》，冲突在象征逐渐没落的旧时代的布莱兹赫德家族与代表新兴资产阶级的平民画家之间展开，旧道德土崩瓦解并非因为新时代的冲击，而是宗教的桎酷使自身丧失了生命力。

查尔斯代表的新兴阶层对财富地位的饥渴与贪婪使他们追名逐利，利用一切可以利用的资源，友谊、爱情、信任……并将这些资源吞噬殆尽，最终面对的是自己苍白贫瘠的灵魂，当“穷得只剩钱”的时候，查尔斯们似乎又觉得曾经认为是桎酷的宗教信仰也是某种富足了。

查尔斯·赖德想要的到底是什么？

爱情、友谊、信任、尊重、金钱、地位、荣誉……噢，最后还要加上灵魂的救赎。

连查尔斯自己也说他想要的太多了，真的太多了。

影片里的查尔斯基本上就是个野心勃勃向上爬的小人物，但是没有于连、瑞普利那样不择手段毁灭一切的激情和胆量。

他的所有情感追求都是功利的，有分寸的，收放自如的，不疯狂的。

他明知塞巴斯蒂安对他的感情，明知自己不愿回应，但仍然呆在塞巴斯蒂安身边，享受他提供的一切，最后所谓“如果我知道会这样”的托辞显得无比的虚伪狡诈。

追求朱莉娅原本是男女之间发生的再正常不过的事，但有塞巴斯蒂安在前，就不能不让人想到这种追求的功利目的，查尔斯想要的是朱莉娅还是朱莉娅的庄园？

是否追求朱莉娅比跟塞巴斯蒂安暧昧更安全更容易达到目的？

如果查尔斯就是这样彻头彻尾的功利的小人，故园也就没什么风雨了。

波折在于查尔斯从来不曾否认自己的野心，却又从来都坏得不纯粹。

与塞巴斯蒂安的暧昧并不因为追求朱莉娅而结束，多年后即使知道找回离家的塞巴斯蒂安是个不可能完成的任务，但还是含情脉脉地跑到异国他乡去暧昧了一把，让人感觉当初的纠缠也是出于真情。

再次遇到朱莉娅，即使两人各自成婚，却还是不顾舆论压力走到一起，让人感觉当初的追求也是出于真情。

然而被证明的真情仍然是不纯粹的，查尔斯没把塞巴斯蒂安带回家，用自己的画换到了朱莉娅的自由，却又把她让给了上帝。

诸多种种的不纯粹，让查尔斯在各种势力各种感情各种信念之间来回地游移，哪一种都不真正拥有，哪一种也不真正拒绝，什么便宜都想占，什么亏都不想吃。

大约是哪一种纯粹了直白了就好莱坞了，而哪一种都不纯粹都含蓄着才英国，是好莱坞在讨好英国品味，还是英国水准向好莱坞的钱屈膝？

抑或是彼此拍马互利共赢？

查尔斯·赖德想要的是什么？

08版的《故园风雨后》想要的是什么？

——答案只能是，要得太多。

打算去看看伊夫林·沃的原著，或许要得不那么多的《旧地重游》反而能够带来更多的东西。

原本打算读完原著再写，但后劲实在是太大，以至于凌晨睡不着觉决定先随便写一些。

本演的塞巴斯汀实在是太美了，美得那样让人心碎。

当他用他浓密睫毛之下的那双眼睛望向你时，你的内心怎么能不柔软成一片，怎么能忍住不去迁就他、包容他、爱纵他？

我深深沉溺于塞巴斯汀和查尔斯的那个夏天，以至摩洛哥二人诀别之后查尔斯和茱莉亚的纠葛甚至让我觉得索然。

盛大的夏季，绿色铺满庄园，在望不见头的草地上飞奔、穿过喷泉和灌丛、在浴室里下棋、在黄昏下接吻，在阳光笼罩时为纳西索斯一样的少年画像。

太美好了，太年轻了，太鲜活了，我实在是没办法不沉醉，不为之而动容。

而Sebastian的旋律环绕其中，悲伤像雾气一样无处不在，让人极力去抑制欲泪的冲动。

塞巴斯汀是那样爱重查尔斯，认识他后，便不在和从前的“狐朋狗友”来往，同他一起打发所有的光阴，共度漫长的夏季。

那样漫不经心那样娇纵的他，在暮色下吻过查尔斯之后，居然也会那样紧张、那样小心翼翼地抿下一口酒，掩饰自己的忐忑和羞怯。

即便是改编，查尔斯和塞巴斯汀的暧昧依然让人揪心。

他仿佛是这样地为茱莉亚着迷，我倒宁肯他真的完全不对塞巴斯汀动心了。

可他偏偏复述着他曾说过的话，在两人间的某些东西崩塌之后依然说着一起对抗世界的誓言、说着“If only it could be like this always.Always summer…”在摩洛哥，他说i miss you，看着他的眼神是那样痛苦而哀伤。

可最终最终，塞巴斯汀只是对他说：“Run away.Run far away anddon't ever look back.”我的心碎成无数瓣了。

有的人说查尔斯太清醒，太功利，对白庄有太多欲望。

可我更倾向于他是为了救赎，他试图去救赎塞巴斯汀，救赎茱莉亚，救赎他们的父亲，可最终他什么都救赎不了。

白庄里，爵士夫人和她的上帝无处不在。

而对于这一家人来说，不论身处何地，白庄都无处不在。

畸形的宗教和家庭关系哺育了塞巴斯汀和茱莉亚，他们根本无法挣脱和逃离。

而试图去拯救他们的查尔斯更像一个徒劳的过客，亦是这场庄园风雨的见证者。

比起来，明明看起来这样脆弱易碎的塞巴斯汀，偏偏是最勇敢也最反叛的那一个。

他在依靠酒精去逃避一切之后，用了一种几乎是撕裂自我的形式对抗他扭曲的母亲和白庄给予他的痛苦。

留在摩洛哥，是他最决绝的抗争。

我似乎可以从中感受到一种西西弗斯式的存在主义。

可我还是太心碎了，为这阴霾缭绕却美不胜收的白庄，更为这漂亮到人忍不住要去偏爱的塞巴斯汀。

他骗走了我的理性我的灵魂，我只想要为他流泪，我不忍看见他的眼泪。

他太美，所以他破碎的每一寸，都让我心如刀割。