婚礼之后2019

大家的评论都已经指出，的确人设混乱，有点是硬伤（原著是“”一女两男“”），放弃女孩，婚礼上又发现亲身女儿，产生故事矛盾，但是演员配置上、颜值、演技上非常出彩，尤其是三位主人公（两女一男）在厨房争吵的那一段，非常精彩，很真实，代入感很强，连续看了5遍，尤其是男主，保护现任妻子，对过去女友吼的那一句“dont' talk to her like that” 还有“idon't owe you anything”，以及“you said in my face...”那一段，句句深入，真实、激烈、一点不浮夸，尤其是对于一个之前没有看过原著的人来说，这里的“答案”至少是“合理”了，基本上逻辑顺了，演员的表现和张力给力，是功劳，給90分，代入感非常强；另外好几处的细节非常棒，非常好，女主最开始，吃药、助理敲门说预约体检、强烈要求必须要求女二本人回纽约面谈，其实是想让她参加亲身女二的婚礼，等已经埋下了伏笔，细节做得很到位，一点不刻意；关于演员配置：女儿的善，面相的纯，和女二真有血缘香；另外，男一的颜值很帅，眉毛浓厚，最出彩的是他的眼睛，充满了自信、积极、迷人、乐观（唯一小缺点：肩膀有点窄，耷拉肩膀），不过总的来说，演员颜值上、配置上非常棒了。至于演技上，真的很棒，不信的大家可以亲自去看一下了，注意细节、演技啊！（ps，我同意前方说的一句话，美国电影，前半部80分，冲的很厉害，后半部有点松散，因为故事矛盾已经产生、代入感已经完成，后半部就平平淡淡走稳路线就可以了）

一个母亲，养育了8岁的双胞胎和她老公在婚前就有的一个女儿。

然而，面对病情和即将来临的死亡，她需要为他们作出一些安排，而她认为最妥善的安排是找到继女的亲生母亲，让新妈妈重新维系起这个家。

幸运的是，继女的亲身母亲至今没有婚姻，在印度从事孤儿养育的慈善事业，急需善款。所以，这位母亲能想到是将公司卖了，将她的财产成立了一家基金会，委托继女的亲生母亲管理，提出的条件就是她需要留在美国。

在撒她的骨灰时的画面中，继女的亲生母亲在为双胞胎中的其中一个孩子拉直衣领，我想的是，这个母亲已经为她逝去之后，给予她的家人们最好的安排。

有多少人可以做到这样理智的安排？应该很难吧……

一个普通的剧情片，我居然看哭了，有孩子的人太容易代入了。我觉得我是很不怕死的人，因为我太怕痛苦了，但孩子成了那个我唯一不敢死的人，说真的我甚至想如果是Theresa这样的大富豪死了也就死了吧，孩子也不能受苦，我这样的穷人才更不敢死。Grace和Isabel都责怪Oscar这个点，我也有点不能同理，但是和配偶讨论了一下他认为是会生气的，因为“不能代替另一个人做决定”，我嘲笑他你倒是西化得快。但这真可能是东西方文化差异，按照东方人的理解养育之恩如此了得，哪还敢责怪一个默默承担了这么重的责任的人？况且如果被亲生父母抛弃孩子不知道得多苦呢。但是对西方文化来说，可能很多事情的重要性排序不是这样的，比如承诺、诚实之类的更重要，而被收养的孩子也不意味着就失去被爱的可能，父母的养育之恩也是本份不是什么恩重如山，要是这么理解，Oscar接回Grace确实只能说他非常自私并且欺骗了两个人，而Grace与他和解也是因为互相之间深厚的感情而不必感激父亲没有抛弃她。

看了评论区网友的介绍，才知道这部片子翻拍自2006年的一部入围奥斯卡最佳外语片的同名丹麦电影。把原版找来一看，才明白了为什么新版看着让人觉得如此拧巴。新版双女主人设，在原版里是双男主。原版里慈善教师远赴印度之前结束了和女友关系（二人之间的缘分应该也就是浪荡青年间的露水情缘）。分手后女友才知道自己怀孕了并决定生下孩子，也就是说，直到婚礼前，慈善教师是完全不知道自己有这么一个女儿的。他的愤怒源自女友这么多年里为什么不把此事告诉他，让自己没有能尽到一个父亲责任（尽管这种愤怒实际上也是十分无理无力的）。新版里，由于人物性别设定改变了，米歇尔威廉姆斯必须生下孩子并且跟男友商量好将孩子送养后才能远赴印度，所以，她是知道自己有一个女儿的，狠心抛弃自己的亲生女儿的原罪也是坐实了的。男友改变主意把女儿留下来抚养成人，她居然为此出离愤怒，这种忘恩负义之举实在是莫名其妙，难怪评论区的不少网友也纷纷指责片子三观破碎。可以说新版人设完全崩塌，威廉姆斯演的完全是个吃力不讨好角色。

其实旧版的人设也不见得高明到哪里去。前面说了，男主得知自己有这么个女儿之后首先表现出来的不是意外的惊喜，而是和前女友（现在已经是富豪金主的老婆了）大吵一场，指责女友这么多年里为什么不把此事告诉他，让自己没有能尽到一个父亲责任。好奇怪的逻辑。你打完炮没事一样撅起屁股远走高飞到地球另一边继续自己不羁的波西米亚族生活去了，现在居然会遗憾自己没能尽到一个父亲的责任？！也不想想看自己这么多年在印度孑然一身，会是那种有家庭观念的人吗？还有男富豪，因为自己得了不治之症将不久于世，不辞劳苦把自己老婆N多年没见过面的前男友从万里之外的印度打捞出来，想把自己的家庭托付给这样一个自己几乎没有任何了解和接触过的陌生男人，这大撒币的行为不是大傻逼是个啥？你怎么知道这个陌生男人会和自己的老婆再续前缘，会让自己的孩子和家庭今后会得到幸福？金钱真的是万能的吗？

（原版剧照）哥，这样的亲热我受不了

所以很奇怪这样一部烂片居然可以杀出重围，最终入围奥斯卡最佳外语片。不过看了那届奥斯卡最终获奖名单之后也就释然了。那一年的最佳正是《无间行者》。让马丁老爷子一圆奥斯卡夙愿的不是什么《出租车司机》，也不是什么《愤怒的公牛》《穷街陋巷》等等影史上划时代的经典杰作，而是这部在自己作品名单里都排不进前十的翻拍自香港的《无间道》！可见那届奥斯卡是多么的不得人心。

本来想给一星的，后来注意到新版导演居然是摩尔阿姨的老公哎！很帅的小白脸耶。话说摩尔阿姨为了不让自己帅气的小老公（比摩尔阿姨小10岁的70后）被别人闲话说成是吃软饭的，也真是不惜余力了。不仅千方百计为自己的家庭煮夫拉来这个项目，还亲自披挂上阵，影后级别的演出卖力感人。看在夫唱妻和的份上，加一星！（weibo.com/gogoboyz）

摩尔阿姨和她帅气的小白脸老公

双强女主的文艺片，等了好多天的EN字幕。女主作为闯入者，带着观众视角，一步步揭开扎心真相的归国之旅，前半程极具张力。

Diane Kruger本来要演，但档期不匹配，Michelle Williams接棒。美国戏前半程牛逼，单拎出来可以给8分，后面就水掉了。

扎心了老铁。

不得不现身的要钱的活儿，结果碰上亲生女儿的婚礼，句句锥心

逃离现场，不想和这里的欢喜沾上一点关系

原来是18岁母亲跟男友一起决定放弃孩子抚养但男友变卦了，亲妈惨淡的内心啊

和闺女单独见面后，心中乌云散去；一起喝茶追忆女儿成长相册后，澎湃的配乐

互相捅刀子的女人啊，Michelle Williams可以奥斯卡女主角提名了

女儿的眼神像shailene woodley

Hollywood’s remaking business is always a mug’s game (whether of its own repertoire or foreign tongue goodies), even for an actor with the caliber of Julianne Moore (with a track record including PSYCHO 1998, CHLOE 2009, CARRIE 2013), who has to scrape the recycled barrel to get new projects financed, which may pointedly signal the hemorrhage or deficiency of women-savvy scribes in the Tinseltown, and leave the current situation much to be desired.

After her terrific turn in Sebastián Lelio’s self-reflexive remake GLORIA BELL (2018), Moore’s following acting gig is another one, AFTER THE WEDDING is an American adaptation of Susanne Bier’s 2006 Danish Oscar Best Foreign Language Film nominee of the same name, and this time, her hubby Bart Freundlich is the writer and directer, his 7th feature (four of which starring Moore).

Thanks to an over-a-decade time-span, this reviewer only retains a rather vague memory of Bier’s original (save that Mads Mikkelsen and Sidse Babett Knundsen are brilliant in it!), which turns out to be a blessing to retain the suspense of the plot. Apart from the location and nationality change and the with-it gender swap, Freundlich’s remake follows closely to Bier’s storyline. Isabel (Williams), an American who has expended most of her life in running an orphanage in Calcutta, India, is requested to meet a potential benefactor, the multi-millionaire entrepreneur Theresa Young (Moore) in New York, who is considering donating millions to Isabel’s strapped institution. Isabel is casually invited to attend the wedding of Grace (Quinn), Theresa’s 20-year-old daughter, only to be wrong-footed when she realizes that she is Grace’s biological mother, and Grace’s artist father, Oscar (Crudup) is her ex-lover, who reneges from their consensual decision to send their newborn baby for adoption, and without informing Isabel, he raises Grace on his own, and later marries Theresa.

So after the wedding, what comes next, a funeral perhaps? It doesn’t require much deliberation to smell the manipulation behind this sheer coincidence, in spite of Theresa plays “I didn’t know” card as naturally as possible, and the movie’s Taiwan title can be literally translated as “Can you marry my husband?”, that comes as a dead giveaway of the twist, also prompted by Theresa’s obsession with an empty bird nest with broken eggshells. In time, her arrière-pensée can no longer be concealed and once her cards are laid in the open, the conundrum falls onto Isabel, leaving her lifelong endeavor in India, not to mention her strong connection with a local orphan boy Jai (Pachisia) and returning to New York, living on the easy street with her own daughter with millions of funds under both’s names, Theresa’s offer is too munificent to decline, and Isabel’s final capitulation seems like a missed opportunity to upgrade the treacle-like story to something more urgently resonant, since the white savior scenario is no longer popular anymore, the disenchantment and struggle of an idealist should have been the cynosure.

As a melodrama, AFTER THE WEDDING disproportionately hinges on the two female performers here, Moore juggles dexterously between a loving mother (including a trademark bawling confession) and a sharp-edged business woman (teeing off on her secretary is a go-to option to show Theresa’s diva side), and the movie is at its best when Moore plays off with an equally excellent Williams, who emphatically refuses to dial down Isabel’s skepticism in the face of a bolt out of blue and suspicious windfalls, also sends off her indignation by doffing her shoes (a knee-jerking reaction reflecting the world she lives in), their blunt-versus-peremptory interplay attests why we love to watch actresses trying to upstage each other if they are granted a stage together.

Crudup is ever so apt in supporting his two leading ladies and puts on a mask on Oscar’s own agenda, only betrays it in small gestures with both frustration and compassion, whereas newcomer Abby Quinn’s Grace is laden with the most dramatic happenstances (getting married, then regretting it, her birth mother, whom she reckons is dead, cropping up out of nowhere, plus bad tidings of an impending bereavement), but not enough content to underset them, save a daunting love-gushing moment that can be easily read as cringe-worthy, Grace should have been the most conflicted character, but the film doesn’t give her enough credit, as I said, it is a mug’s game and AFTER THE WEDDING has no distinction to break that curse.

referential entries: Susanne Bier’s AFTER THE WEDDING (2006, 7.3/10); Freundlich’s TRUST THE MAN (2005, 6.1/10).