女魔头

同《断背山》一样,剧中的主人公自私贪婪，实在让人喜欢不起来。

对边缘人素无偏见,只是片子一开始好莱坞式的烂煽情就让人反感。

妓女就妓女好了,拿什么星梦破灭说事,逻辑混乱。

小女生式的成名梦，一味渴望名利财富,如果仅局限于儿时的众多奇思怪想之一也罢。

若以长大成人后的眼光看,这类理想未免太过纯物质且没有道理了。

更加不懂的是,就在旁人对其痴人说梦一片不相信声中,她竟莫明其妙地成了高速公路上的Street hooker站街妹,两者间关系令人费解。

之前的剧情顺利解释了绝大多数性工作者的心态——缺乏精神追求且贫图快速便捷的物质享受。

相比之下,另一主角Selby的思维及行为也达到了令人发指的地步。

这两个活宝也的确是天生一对。

因为爱,妓女决定从良,她将自己想从良的愿望告诉了Selby,结果这混球竟然问了一句很绝的混帐话:"为什么？

我听你过说那样不错啊"伟大的妓女同志并没有怒,只是停顿片刻向她解释道:"有时是不错，但这不是重点。

现在有了你，我就拥有了整个世界！

" 片中Selby年纪不大但起码成年,没有知识也该有常识,这行怎么会好过呢?如果是这样,岂不是人人都争做性工作者咯?能发表如此言论的家伙不是存在严重智力问题就是内心麻木不仁到一定境界了!Selby人格的一致性贯穿全剧:离家出走投奔爱人,花完了身上所剩的钱,大大方方提出:"你会照顾我的,是吧?"在家靠父母出门靠爱人,整个一寄生人!不仅啃老,所谓的爱人不过也是包养责任人。

骨折恢复之后拜托请对你自己负责。

四肢健在,头脑也灵活,能吃能睡能跑能跳,就是不能自立。

当妓女同志在外奔波,求职屡受打击的时候,Selby同学真强呀!不管不顾,直接了当表达肚子饿须进食的迫切需求。

粗线条的妓女同志又一次该怒而不怒,内心充满愧疚地干回老本行,同时发现了杀人夺车的发财新大陆。

妓女同志的爱情观貌似是:"爱你就养你,包你满意。

"并且该同志一诺干金,对爱人承诺过的待遇一定兑现,绝不开空头支票,坚持奉行"无毒不丈夫"及"宁可我负天下人"等至理名言。

同时又不乏"有所为有所不为"的仁义之举,放过了一个呆呆的胖司机。

但事事难料、人世无常,"人非圣贤,孰能无过呢?"所以,妓女同志"迫不得以,万般无奈之下"杀死了全片中最好的一个人,变身为名副其实的女魔头。

Selby同学在得知妓女杀人后还是相当的恐慌,毕竟法律的刑罚不是儿戏。

不过,害怕之后仍是一如既往我行我素,没车开要吵,去渡假的愿望未能满足要闹,拿别人用命换来的钱和新朋友鬼混,可人家也不太待见她,最后还是只有妓女一直守侯着她。

最让人拍手叫绝的是,该同学即使跑路时也不肯降低生活质量,坚决不搭大巴一定要自驾游,还以行李多为由劝说妓女。

妓女同志对爱人千依百顺,顾不上连续做案身体和心理的双疲惫,毅然滑向罪恶深渊,只为博红颜一笑。

当然,后来面对警方时,Selby同学再次本色出演,毫不犹豫与罪孽深重的妓女划清界限。

片子最终以一句废话结尾"Aileen and Selby never spoken again."即使是根据真实案件,确有其人其事,这样两个生物还是让人很无语,耗费人力物力将其搬上荧幕只是为了展示丑恶自私的灵魂,用来让人厌恶?未免太破费了。

看了开头，就知道不是什么好结局。

前半部分展示的基本上还是一个从小受到不公正待遇的女性自我选择的结果，是的，她的生活在最初是以悲剧开始的，但她往后的每一个选择都在把自己往更悲惨的深渊里推。

这个没人能帮得了。

影片第一次触动我，是在她决心找一份安稳工作，四却处碰壁尤不自知原因的时候。

口口声声重新开始，却因为快钱赚的太多，而不懂得如何踏踏实实的赚钱顾生活。

老实讲，我觉得面试他的考官修养和品德算得上极好，说的话也一针见血，“你不能轻易就实现别人奋斗终生的目标。

”仔细看电影细节可以体会，你的过往会造就你现在的环境，现在的环境又会影响你和你身边的人。

我们究竟是顺应环境被命运所左右，还是想方设法突破环境的限制改变命运，结果并不会因为一次心血来潮的偶然选择产生偏差，而是取决于漫长人生路上每一次微不可查的取舍。

看《女魔头》之前，追捧女主角塞隆的文字已经像春风一样吹遍了各大媒体。

在这种舆论氛围下看这部电影，容易存在着某些逆反心理。

如果美女变丑只是一种喙头，那砖头就有得一拍了。

看到电影的最后一个镜头，艾琳有些倔强地被警方押走，她回头，一脸复杂的表情，给她这次的表演划上了完满的句号，我才发现群众的眼睛确实亮丽。

　　从电影制作的角度讲，评判一位演员有没有演技，并不仅仅限于她一个人的表现，银幕上表现出来的只是结果，而展现“演技”的过程则有导演、摄影、剪辑、灯光、化妆等部门来参与，缺一不可。

好演员需要懂得自己在整个影片制作中的地位和作用，知道在他们的参与下如何塑造出最到位的影像。

比如马兰·白龙度的“教父”角色，有那么出色的导演和摄影班底，他只要在皮椅上玩玩深沉，不用演就够味儿了。

　　说到塞隆演技过硬，也在于《女魔头》中制作部门并没有在她表演上给予太多的提升和帮助。

导演兼编剧派蒂·杰金斯，能写得一个层层递进有开端有发展有高潮，一切都规规矩矩的好本子，这个剧本可以说就是为突出女主人公而量身定作。

但他导演功力并不突出，整部片子从表现手法上看很普通——除了最后十分钟。

各部门也基本是照着好莱坞制作的惯例在进行着，如果不是《女魔头》题材比较吸引人（同性恋、暴力、性）、主演表现十分抢眼、再加上媒体的炒作，这种片子也许就少人问津了。

　　影片成功之处还在于，所有人都知道这部电影只有一个重点，就是突出那个“连狂女杀手”。

能接到这种角色应该也算是演员的幸运。

而塞隆明显是最大胆的一位，金发碧眼的她增肥30磅，变成“黄牙齿，满脸雀斑，身材壮硕的粗俗街头女子”，化妆师的本事可见一端。

而导演表现对话的手法就用好莱坞典型的三镜头，他还不厌其烦地逮着所有可能的机会给塞隆近景、特写、大特写，镜头没有过多的修饰，完全让那张惨不忍睹的脸尽情地表达一个被生活逼到绝路的杀手心态：从孤苦到压抑，从压抑到兴奋、从兴奋到无奈、从无奈到悲痛、从悲痛到狂野、从狂野到无畏，再从无畏到破碎……老实说，在一个角色里包含这么多个形容词，我是写起来累，塞隆同志演起来估计连半条老命都要搭上了。

不过她还是幸运的，有强烈表现欲的演员最喜欢这种导演了，这么大的发挥空间倒哪找去？

　　塞隆演得最成功的部分，集中在影片的后面二十分钟。

她违背自己尚存的良知杀死一个好心人，那种与命运硬顶着干的痛苦让人不忍再看。

而她面对被自己心爱的人在法庭上指证，更是影片最煽的一个段落。

电影看完后，估计大多数人在情感上都有点偏向于这个在现实中的杀人犯。

这就让当年的部分被害者家属感到不满，认为电影剧情过度美化了女魔头其人其事，故意淡化她凶狠残暴的一面，渲染她的苦命来赚取观众的同情和钞票。

jc /41314/04/2019 draftDr. F C Monster: Understanding How Aileen Wuornos Became The First American Serial Killer Film element: characters and their psychology issuesMonster is a biographical crime film based on Aileen Wuornos’s life story; a film about how Aileen Wuornos became a serial killer. The film is written and directed by a famous woman filmmaker, Patty Jenkins. Monster provided Charlize Theron, who plays Aileen Wuornos, a win at the Academy Awards for Best Actress, as well as other worldwide awards. Another protagonist, Selby Wall, was played by Christina Ricci. The film was produced by Denver and Deliah Films in 2004. Even to this day the film still maintains a high-value for society’s criminal studies by supplying people an insight into the world of a killer and an understanding of a human being’s dark side.The director, Patty Jenkins, is sympathetic to Aileen and opens a window to let people know what kind of tragic life her past held. In this film, the protagonist, Aileen is extremely miserable in all aspects of life, spiritually, financially, and emotionally. The serial killer, Aileen, was an innocent person who became a killer because she was forced by the environment that surrounded her.The conflicts within the film are well set; the goal of the protagonist, fantasy vs. reality, and the conflicts between characters are a few prominent conflicts that stand out. The most important conflict, in Monster, is that Aileen never achieves her fantasy about being in love and living a wealthy lifestyle. As a child, Aileen had a conscious, she was simple, grateful, hopeful, good-looking, and one who dreamed of a fancy life. As a child, she dreamt of becoming Marilyn Monroe but because of the terrible childhood environment, she was forced to endure she instead became an uneducated prostitute who lacked life skills and practical intelligence. She was frequently suffered from both mental and physical abuse. She was isolated. As time went by, Aileen got older and began to hurt more. She became more aggressive, confrontational, and violent. Until a raining night in a bar, before Aileen attempts to commit suicides, she meets Selby. Aileen thinks she finally found love and believes Selby will never hurt her. She tries her best to satisfy the immature Selby's desire for life, but Aileen does not possess too many abilities so she takes back her old job, because of Selby's will. One day, she has to kill a whoremonger to survive. She pretends everything is alright in life to make Selby happy, but never stops to take a look inside herself to see the broken heart that dwells. Unfortunately, Aileen’s sacrifices cannot fill Selby's real needs: living in bliss and without responsibilities. Selby stays with Aileen for pleasure and as an escape from her family. Aileen has never been loved by Selby nor anyone else, but her selflessness for Selby is love in itself. The few shining points within this film are the friendship between Aileen and the aged man and Aileen’s sacrifice for the wrong person, Selby, who has a narcissistic personality disorder. Although Selby was one of the causes that led Aileen to fall into the abyss Aileen still protects Selby from the law until her dying day. Aileen’s love for Selby is her last defense for her ideality towards love and life, and the last defiance to fate and to society. Aileen is a criminal who lost control of life and morals, but she is also a practitioner of faith and love. She is an idealist who sustains her principles of love, even though almost everyone, including herself, continues to hurt her and push her away.Besides analyzing the theme and well-made story conflicts set in this film, the next part of the paper will concentrate on how the director uses mise en scene elements to take audiences deeper into the killer’s life. Patty Jenkins pays attention to every detail of the story. She controls the pace and the mood of the film to make the audience empathize with Aileen’s tragic life. The use of mise en scene reveals Patty Jenkins's directing style in Monster is exquisite, meticulous, and cautious. Using the opening scene as an instance: the operation of aspect ratio, the composition, the camera works, the symbolism, the changing of color saturation, the changing of film tone, and the use of lighting in the opening scene will be analyzed. The first feature of the directing style in Monster is the way she operates the opening scene and its aspect ratio. The second outstanding characteristic is the cautious way she arranges the composition and the symbolism. Patty's unique opening design of the film starts with a video screening in a frame (a small version of 1.85 aspect frame ratio in a regular film frame size). The ratio of video screening between the whole film screen is about 1:13. The design of this opening is very forward and creative. It also starts with Aileen's narrative monologue overlaid by her childhood video screening. It grasps the audience’s attention and makes them feel as if they are watching a home video, which is also Aileen's life reflected prior to suicide. While the video is screening in the frame, audiences get a sneak peek, from Aileen’s point of view, of the cruel world she is a part of. The entire opening clip implies the background story that Aileen was raised in an awful family and had unpleasant memories growing up. When the frame of the small video gets bigger and bigger until filling the entire screen, the audiences are awarded a view of emptiness and hopelessness Aileen faces. At the same time, the flashback is over, the film starts the linear narrative, and the countdown of fate commences. In this first full-screen shot, which is high contrast and a high key wise shot of Aileen cowering under a flyover, audiences notice the strange dark shadow that draws and separates Aileen from the road. Audiences will face Aileen's unpredictable life by following her actions.The opening video screening starts with a close up of Aileen’s head, her eyes full of passion and hope. It's a high key shot with a balance lighting contrast with high color purity. It has a warm tone that has the most hopeful and cheerful feeling in the film, compared with the rest of the film. The light of sunset shines through the window and lights Aileen's back in a 3/4 degree angle; her head faces a mirror in a room without extra lighting. The symbolism and the dominated colors also set the mood at the beginning of the film. The blue, red, and yellow earth colors symbolize her tragic love, violence in life, and her unachievable dreams of wealth, respectively. Aileen as a child wears a blue silk scarf, looking at the mirror, and is framed by the redwood, symbolizing that she dreams about being surrounded by love and the beauty of human nature. She likes pretty stuff, but she gets only abuse in the future, the redwood frame symbolizes her life being affected and limited by violence. The gold necklace symbolized her desire for wealth. Aileen as a child was innocent, pure, and had nothing to do with violence. In this flashback opening clip, child Aileen seems happy and everything in the scene seems lovely. While the camera zooms out slowly, and the video frame is getting bigger and bigger, in the next shoulder shot, while she puts on another gold necklace, a hand touches her heavily touches her shoulder, and turns her back around; her eyes gaze innocently at the audience. This moment symbolized her crashing fantasy. In the next flashback, Patty uses one modern drawing as a transition shot. The narrator, Aileen, says that she stopped sharing her dream with people. A male comes into the frame taking her book away, and ordering her to do something else. She becomes sad and closes her eyes to escape reality. Based on the extreme close up of the angry male’s eyes, the audience is informed that as a child, Aileen, lived with a terrible father.The frame of the flashback memory is bigger than before, the color purity is lowered, the light on the scene turns to overcast, and the emotions on Aileen’s face are no longer innocent nor cheerful. She is angry. In the next wide shot and the following medium shot, people keep their distance from Aileen, while looking at her in an unfriendly way. Narrator Aileen continues to keep her dreams in her heart and intends to prove her dream will one day come true. She believes she will be the next Marilyn Monroe.However, in reality, her tragic life comes to the next transition. The wide shot of her walking on the road and getting into a stranger’s car implies that she has become a prostitute and homeless. In the next night scene, she is inside of a customer's car, the low light key, and the high contrast shows her life situation has worsened and the frame reverts backs to the regular film format size. Her memory ends and the audience starts to venture into her new life, a female serial killer is coming to the world for she is kicked out and abandoned by the male whoremonger and her fantasy dream about the perfect life begins to die. She thinks about suicide. While she sits under a flyover, a raining scene with a wide shot starts her new chapter of life. With a close up of Aileen holding a gun in her right hand, and 5 dollar bill in her left hand, she tries to commit suicide.The common characteristic of Patty Jenkins’ directing style, similar to other female filmmakers, is that Patty uses a lot of dialogue to reveal emotional changes for each character, which she then develops into multiple conflicts related to Aileen‘s fantasy of life and the struggles experienced in the real world.Arthur Schopenhauer thinks “Every life history is a history of suffering.” Human beings fall from pain or grow from it. Most people break laws because they couldn’t find a way out of their struggles. When there is unsolvable trouble for a long time, one may be controlled by depression, anxiety, or anger. Depression because of incompetence; anxiety is due to the unsatisfied desire; a fury is an act of the timidity of performance. When a person is crushed by the mix of irrational emotions like depression, anxiety, and anger, and lack any emotional support for a long time, he/she has the potential to hurt himself and others. Aileen Wuornos is a typical example that demonstrates how a broken soul can walk the criminal path. According to this film, people know Aileen was not a psycho, but she always lacked positive social support and was never loved by anyone. She is always depressed and had been controlled by anxiety and anger her whole life. Even though she never acquires love, she is a true believer in it. Her selfless love for Selby and her explicit behavior in faith for love leads audiences to think deeply about whether people possess love and the faith of life. Through this film, audiences can assume that Aileen Wuornos could have a better life if she had received any effective favors. Patty Jenkins sees the root cause of how and why Aileen became a criminal. This masterpiece of hers is more than a criminal feature, it’s an anti-romance biography of how an ordinary dreamer can become a killer. This film is a textbook study of criminal minds, a reflection of society’s desire for status, and most importantly, a guide that helps people to be wise and caring.Work Cited? None. none target audiences.

我一直相信世界上并没有绝对的善，也没有绝对的恶。

哪怕是像主人公这样貌似冷血的连环杀人魔，心中也是为了爱情，为了深爱的人而不惜一切。

以前有一句歌词唱道，“我愿为你成罪人”，就是很真切的反照。

我甚至觉得这部电影最让我感触的，不是什么罪行，而是如此真实的爱情。

她本来并不是同性恋，因为别人的爱，她一直欠缺的爱，从而更深的爱上了对方。

然而最终，付出并不是相等的。

相爱，也并不意味着没有背叛。。。

不敢相信查理兹·塞隆为了这部电影，从一个美丽绝伦的佳人让自己变肥变丑到这个地步，她的努力确实无可挑剔，不愧得了奥斯卡的最佳女主角奖。

看这部电影最初是想一睹大美女查理兹·塞隆在片中究竟丑到何种程度，没想到塞隆的丑陋面容并没有引起我的惊叹，反而是她的演技与影片中真实的残酷另我惊叹不已，塞隆也凭女魔头艾琳·沃诺斯这个角色获得当年的奥斯卡影后。

影片取材于90年代初曾在美国轰动一时的真实案件，从80年代末到90年代初，艾琳·沃诺斯一共杀死了六个男人(其中还包括一个警察)。

她被媒体耸人听闻地称为“美国第一个连环女杀手”，而整个案件的审判经历了长达十年时间。

艾琳·沃诺斯对自己杀人的罪行供认不讳，但她一直申辩说自己只不过是为了自卫，为了反抗在提供性服务时遇到的暴力侵害才动手杀人的。

2002年10月9日，艾琳·沃诺斯的死刑在佛罗里达被执行。

在本片中导演派蒂·杰金斯着力于塑造人物和讲述故事，并将她和她的同性恋爱人希尔比·沃尔之间绝望、压抑的关系做为影片的主线，整部影片看完之后让人感到一种难以释怀的压抑与残酷，这种感觉既因为主人公身处其中冷酷的社会所致，也因为那比社会更残酷，更令人冰冷的人心。

　艾琳·沃诺斯的童年悲惨冰冷，除了殴打辱骂和虐待外，她的家庭什么也没有能够给她。

她曾经幻想过要成为闪闪发光的明星或者得到真爱，但白马王子一直不肯来拯救她。

为了谋生，从13岁起艾琳就不得不开始出卖自己的身体。

后来，她离开密歇根来到佛罗里达，成为一个专门为在高速公路上跑长途的卡车司机们提供性服务的妓女。

时间就这样在商业街、加油站、下等酒吧之间流逝,活着仿佛只为了等待一个尽头般绝望而无奈,直到艾琳邂逅了年轻的希尔比·沃尔那是一个暴风雨之夜，艾琳只剩下最后五块美金，她想要最后喝一杯酒就去自杀，然而就在那个破败的女同性恋酒吧里，她和希尔比第一次相见。

希尔比是个对未来完全不抱有希望的反叛姑娘，她的父母都是虔诚的教徒，因为痛恨她的女同性恋性倾向而把她赶来佛罗里达让她和一个老姨妈住在一起。

艾琳从来没有对女人感兴趣过，但在和希尔比第一次交谈之后，她就决定要和她过夜。

希尔比的温暖和关怀是艾琳这一生中从来没有得到过的新鲜和陌生的东西,于是艾琳和希尔比很快成了一对如胶似漆的恋人，希尔比从姨妈家里搬出来，和艾琳一起住在汽车旅馆里。

艾琳决定不再做皮肉生意而是去找一个合法的有尊严的职业，但对社会不切实际的幻想和工作技巧的缺乏，使她只能在工作面试中被不断被人羞辱伤害。

为了维持两人的生活，艾琳只得再次在高速公路边重操旧业。

一次，艾琳遇到了一个虐待狂嫖客，他向她施暴。

为了自卫，艾琳开枪打死了这个男人，掩埋了他的尸体并抢走了他的钱和汽车，噩梦般的命运转折点终于出现...年轻无知的希尔比不断向艾琳要求更多东西，而艾琳自己心中的某个束缚也似乎在那一刹那间被猛地折断，她开始越来越频繁的杀人，从年轻的男孩到温和的家居男人再到便装的警察，凶暴残忍，不问原因，最后终于被警察抓获。

而最让人难以接受的是在法庭中指认艾琳的正是她的挚爱希尔比。

我相信在那个时刻艾琳的心中一定充斥着绝望。

其实追根溯源，艾琳的悲剧就是从她13岁被性侵后开始,从此她的命运无可避免的走向深渊，只能越陷越深。

残酷的社会在一开始就并未真正公平的对待她，也许在看过诸如《阿甘正传》之类的励志大片后，我们总是在自我欺骗也许每个人都会像阿甘一样一直傻人有傻福下去，但那毕竟也只是老美编织的一个童话，这样的童话在现实面前不堪一击。

艾琳也曾梦想着当公主，但梦想却被现实敲的粉碎。

命运有时就是在肆意的给我们的人生开着一个又一个玩笑。

有时痛苦的不是梦想无法实现，而是在梦想刚刚开始时又被现实狠狠地砸下，既然不会有结果，又何必给人希望那？

而本来就以十分悲惨的艾琳却偏偏让命运捉弄了一番，就在她绝望之时，希尔比的出现为艾琳的生活点燃了一丝光亮。

她们有过快乐、幸福的时光，为了希尔比不断膨胀的欲望，艾琳也慢慢走上了不归之路。

而过尽千帆后，当自己站在法庭受审时，想不到指控自己的竟然是自己为之牺牲，为之所爱的人。

这是命运对艾琳开得多么大的一个玩笑。

社会固然残酷，但也绝没有人心更残酷，被自己所爱的人背叛，这足以痛到不能自己，此时的世界已然是绝望了。

看着艾琳的背影，在忍不住大骂希尔比真是实足的bitch时，也有一种对命运的无力感，我想影片只是力图平静的记录下发生在沃诺斯身上最后几个月的自由时光，她是个怪物，或者只不过是这个残忍肮脏的世界的受害者。

Charlize Theron太肯牺牲了，从外貌、体型到举止，她将一个真正的女魔头演绎的栩栩如生，奥斯卡影后实至名归。

Aileen是一个生活的浑浑噩噩的妓女，从没人关心，只是一个人过着龌龊不堪的生活。

没人喜欢孤独，即使外表再强悍。

当有人靠近时，最初的抵抗是因为自我保护。

而一旦得到了她的信任，压抑许久的感情的洪流就顺着这个泻洪口喷涌而出。

而当你将如此多的情感全部投注到一个人的身上时，一般都不会有好结果。

影片极力描写Aileen对感情的执着以减轻观众对她连续杀人的厌恶感。

但当她杀人成瘾之后，悲剧命运就已经注定。

其实Aileen不是没有想过好好生活，然而一个妓女想找一个正正当当的工作，根本就是不可能，是个人的悲哀，也是社会的悲哀。

看《女魔头》看到莎比同学得意洋洋喝了一口酒开着车去酒吧，记忆就中断了，不知道自己干什么去了，总之电影没有看完，给我自己留了一个悬念。

后来就毕业了。

但知道一定会是最爱的人去背叛。

电影总是这样。

好像是上一周导师在课上举例子随口提到女魔头里的莎比有多冷酷。

我才想起，我还没有看完这个故事。

刚刚看完了。

花两个小时去看别人的一生。

剥离了华丽的外表，剥离了道德的掩饰，剥离，剥离…… 所有无关紧要的，而又掩盖事实的成分全部被剥离。

一切赤裸裸的在眼前：爱情，罪恶，残忍，伤痛 　　 她们本来就是被损毁的人物。

一个饱受虐待的妓女，她曾经和所有的少女一样天真，一样满怀幻想，一样有过美丽情怀。

一个备受歧视的女同性恋者，不仅被异性恋歧视，在同性恋圈子里也同样被排斥。

于是在出场的时候一个被打得头破血流，一个手上打着绷带绑着石膏。

她们在社会上是残缺的，是受损的，是被与人群区别开来的。

一点点的亲近，一点点的关心，一点点的爱。

就像卖火柴的小女孩，捧着火柴，幻想着天堂的救世主，她们靠这一点点微弱的，颤抖的火光，幻想着相依为命的的甜美时光。

　　 她们又是在损毁他人的人物。

当女魔头射杀一个愿意无偿帮助她的老人，射杀一个死前念叨着“我的妻子，我的妻子……”的丈夫，念叨着“我的孩子，我的孩子……”的父亲，很难再用同情来形容我的心情。

哪怕她就是射杀一个正常的做交易的嫖客，那也是罪恶。

可是我又无法说，这个女人该死。

她想重新步入社会的努力都被拒绝了（拒绝她的不就是那些父亲母亲好人么？

）。

而情人需要快乐。

当情人在法庭上指证女魔头的时候，我的心都酸透了。

大难临头各自飞，但相煎又何太急（怎么又能不急呢）。

　　 想想她们开着红色跑车出逃的路上，在疾速的风里的狂欢，仿佛是一种仪式，接受命运之手的到来。

　　 　　　　这部电影惨不忍睹。

过了这么久才写下寥寥数语。

是为记。

记我看过的最为残忍的电影。

　　Selby，像个被宠坏的孩子，她年轻、虚荣，对爱她只知道索取。

Aileen在爱上她的时候可能就已经清楚自己注定是那个需要付出的人，只是她或许没有想到自己付出的将是全部——包括生命。

Aileen对Selby说：你不了解我的生活，但我了解你的。

我在一个混乱的世界做了很多事情，这些都是你没有听说过的。

所以你可以继续认为这个世界人都是好的善的，这也很合逻辑。

知道吗？

因为我爱你的一切！

　　所谓真爱，或许就是可以爱对方的全部，肯为对方付出全部吧？

可惜，Selby承担不起这样的爱。

东窗事发后，Aileen一个人承担下所有的罪行，Selby却在法庭上面无表情的挥起她瘦弱的臂膀指认Aileen.　　一百个人心中有一百个哈姆雷特。

有的人在这部影片中看到社会的残酷，有的人看到女人的感性，有的人看到Aileen的饰演者Charlize Theron为了这部影片增肥扮丑。

而我看到的是，Selby不配得到真爱。