艾玛

1996年格温妮斯版的《Emma》（美国版）是我看过的第二个版本。也许有先入为主的影响，我仍然认为无论是男主人公还是女主人公，第一次看的1997年凯特.贝金塞尔版的《Emma》（英国版）都是更为经典的一个版本。但尽管如此，我还是要说，96版也是非常经典的一个版本，很有自己的特色。尤其是这个版本里的奈特利先生，初看时感觉比97版的差很多，但多看几遍后，竟越来越多的发现他的好，是个很耐看，很值得挖掘的人物。两个版本总的比较，就风格来讲，96版比97版的喜剧效果更强一些，在某些细节上的处理手法也更夸张一些，而97版更偏向于正统的路线，更含蓄一些。这似乎也正体现了美国人和英国人拍摄的区别。就饰演爱玛的女主角来讲，曾以《莎翁情史》夺得奥斯卡影后的格温妮斯，演技自然不需多说，《Emma》也正是她的成名作；而凯特.贝金塞尔的来头也不小，曾担任《珍珠港》的女主角。老实说，从外貌上讲两个女主角都很漂亮，很有古典美，而格温妮斯的气质似乎更为高贵一些。但是我还是觉得凯特饰演的爱玛更符合我心中的想象。包括外表，我也更偏爱凯特一点，比较贴近爱玛的俏皮可爱；格温妮斯稍嫌成熟了一些，虽然她的演技弥补了这一点。就饰演奈特利先生的男主角来讲，两个版本的男主角我都不熟悉，之前甚至之后也没看过他们的其他片子，但对他们在《Emma》中的演出，我都非常喜欢，尽管他们的风格并不相近。97版Mark Strong 饰演的奈特利先生含蓄沉稳，正直坦率，非常有绅士风度，一直是我心中最最喜欢的男主角，甚至还略高于前面提到的《音乐之声》中的男主角特拉普上校。而96版Jeremy Northam 饰演的奈特利先生，既有含蓄沉稳的一面，又有亲切近人的一面，每次重看影片，都让我有新的发现，对他的喜欢大有后来居上的势头——当然，一直在我心中占据首位的Mark Strong版的奈特利先生也不是那么容易能超越的。另外还想说的是97版的男女主角都是英国人，地道的英式英语自然无可挑剔；但让我惊喜的是，作为美国人的格温妮斯，英式英语竟然如此地道，大出我的意料，实在很佩服。下面就让我们来看看96版《爱玛》的几个场景吧，这几个场景串在一起基本上构成了故事的主要情节。第一个要写的场景是男主人公的登场。男主人公奈特利先生是当维尔庄园的主人——似乎简.奥斯汀小说里的男主人公都很有钱——不过这也为他们能自由选择自己所爱的人结婚提供了前提条件吧。奈特利先生的弟弟约翰.奈特利娶了爱玛的姐姐，住在16英里以外的伦敦。爱玛的父亲伍德豪斯先生是哈特菲尔德庄园的主人——很难得的，这次奥斯汀小说里的女主人公也不用为金钱发愁，不用想着通过婚姻改变命运——我们的爱玛.伍德豪斯小姐有3万英镑的嫁妆，是《傲慢于偏见》中女主角的15倍呢。由于当维尔庄园和哈特菲尔德庄园离得很近，再加上奈特利先生是爱玛的姐夫，于是两家常有往来。爱玛的母亲早逝，自从姐姐出嫁后，家中就只剩下爱玛和父亲、以及爱玛的家庭教师泰勒小姐了。影片一开始，泰勒小姐也出嫁了，成为了韦斯顿夫人，离开了爱玛家。婚礼结束的那个晚上，家中只剩爱玛和父亲，显得冷冷清清。这个时候，我们的男主人公登场了——他刚从伦敦他弟弟家回来，没有赶上泰勒小姐的婚礼。之前写《音乐之声》男主角登场的时候，我曾提到对一开始不苟言笑的男主角感兴趣，而这里奈特利先生的登场可是够和蔼可亲的，几乎一直在微笑，于是我理所当然的没有什么特别的印象。只是不同的是，对于《音乐之声》，我并没有看过相关小说，在人物的理解上全凭演员怎么演。而《爱玛》因为已经熟读过小说，知道奈特利先生是怎样一个人，于是看电影是在看演员对这个角色的诠释是否与我看到小说后想象的一致。再加上之前还看过《爱玛》的另一个电影版本，心里肯定会有比较，于是对这个奈特利先生的要求难免会更苛刻。对于这段登场，我似乎一直在挑刺：比如奈特利先生的年龄——按小说中所写，奈特利先生37岁，比爱玛大了16岁，但这段场景中初次看到奈特利先生，我觉得他只比爱玛大五、六岁。还有就是他的manner——奈特利先生是个非常绅士的人，而这段场景中，他的坐相似乎有点太随意了。不过，好感也并非没有：虽然男主角看上去年轻了一些，但举止言谈还是很成熟稳重的；另外，他的英式英语讲得非常好听，与97版有得一拼；还有很重要的一点是，他似乎比97版的男主角长得还要好看那么一点点。对这段中的女主角总体感觉不错，看上去很lady也很纯洁，而她说到做媒的话题时，那股小女孩气的沾沾自喜和自以为是也表现得很到位。这段情节中还有一个细节：奈特利先生对爱玛说他实际上应该是爱玛的哥哥（姐夫应该就是brother-in-law吧）。这个细节为后面场景四中的一段对话作了铺垫并形成了对照，写到那里再细说吧。另外，当爱玛认为泰勒小姐喜结良缘自己功不可没，甚至又打起埃尔顿先生的主意，想给他做媒的时候，奈特利先生的不以为然甚至劝阻其实也隐隐表现出了这个男人严肃的一面。场景一视频：http://www.ku6.com/show/4t0FDcyY7f6aTnzF.html如果说奈特利先生和蔼可亲式的登场让我没留下什么印象的话，那么接下来的这个场景可让我感兴趣了——那隐隐约约的不苟言笑在这段戏中直截了当的表现了出来。爱玛因为想要给埃尔顿先生做媒，便留意起了身边的女孩。正好这个时候她新认识了一个朋友——美丽温柔的史密斯小姐。史密斯小姐是个私生女，连自己的亲生父母是谁都不知道。在当时的社会，这样的女子是没有什么地位的。史密斯小姐其实和农夫马丁已彼此倾心。但爱玛却因为自己对史密斯小姐的喜爱，认定史密斯小姐一定是位绅士的女儿，并一个劲的给史密斯小姐灌输这种思想，让史密斯小姐也认为作为农夫的马丁配不上自己，自己应该嫁给一个绅士，于是拒绝了马丁的求婚。看到这里或许多数人会有点讨厌爱玛——怎么那么自以为是呢，看不起农夫，还拆散人家的婚姻。不过仔细想想，一方面，爱玛作为一个有钱人家的小姐，从小养尊处优，看不起农夫也是正常的，我相信在我们当中，也有不少女孩子或多或少有同样的想法。另一个方面，虽然她拆散了史密斯小姐和马丁，但她并没有恶意，她的出发点和愿望其实是好的——希望她的朋友得到更好的归宿。所以我一直是喜欢爱玛的，她本性善良，因为娇纵也有不少缺点，是个很真实的人物，而且当她知道自己错了的时候会努力去改正去弥补，在她身上我相信不少女孩子都会看到自己的影子。再回过头来说这段情节——当奈特利先生得知因为爱玛的影响史密斯小姐拒绝了马丁的求婚，非常生气，认为爱玛使史密斯小姐失去了得到幸福的一次绝好机会，于是与爱玛争执起来。我很喜欢这段场景里的奈特利先生，冷静，理智，分析问题一针见血——虽然我认为他也有点过于贬低史密斯小姐，但又不得不承认他说的都是事实。很喜欢奈特利先生不苟言笑的神情，在看到这样的神情之后，再去回想他和蔼的时候，才发现那个时候的他其实也同样迷人。也很喜欢这段中爱玛的打扮，似乎是全剧中最漂亮最可爱的时候了。而我也不得不承认，在视觉效果，如人物装束、周围环境等场景上，96版似乎比97版更耐看一点。同样有一个细节很有意思：爱玛告诉奈特利先生说史密斯小姐拒绝了马丁，起初奈特利先生有点不相信，于是爱玛说她看见了史密斯小姐给马丁的回信；听到这里，奈特利先生目光如炬的盯着爱玛说到：“爱玛——”于是爱玛立刻像谎言便揭穿的小孩，不敢直视奈特利先生的眼睛。看到这两个镜头，我不禁笑起来，奈特利先生实在太了解爱玛了，一听就知道是爱玛干的好事——回信肯定是她帮史密斯小姐写的；而在奈特利先生面前，爱玛就像个没长大的孩子。场景二视频： http://www.ku6.com/show/YOebaQUissm2V5pM.html第三个场景很有意思，片中的男二号——弗兰克.邱吉尔先生登场了，并且对爱玛大献殷勤，故事的情节有了新的发展。弗兰克.邱吉尔是韦斯顿先生的儿子，他很小的时候母亲就去世了。韦斯顿先生因为忙于生意，无法照顾自己的儿子，就把儿子过继给了妻子的哥哥，也就是孩子的舅舅邱吉尔一家。韦斯顿先生再婚娶了泰勒小姐，也就是爱玛的家庭教师后，弗兰克便打算来看望父亲和继母。爱玛从未见过弗兰克，但因为他是自己家庭教师的继子，再加上从画像上看，他长得十分英俊，爱玛便一直盼望着见到他本人。在弗兰克到来之前，片中的女二号——简.菲尔费克斯小姐也登场了。简是爱玛的邻居贝茨小姐的侄女。贝茨一家并不富裕，简也不是什么有钱人家的小姐，但她多才多艺，弹琴唱歌都超过了爱玛，让爱玛有些嫉妒。简本来在坎贝尔上校家给坎贝尔小姐做女伴，因坎贝尔小姐出嫁，简失去了这份工作，便回家看望姨妈。在要写的这第三个场景之前还有一个细节很有趣：爱玛听说简曾因为偶然的机会见过弗兰克.邱吉尔，便去向她打听弗兰克的情况。可是简似乎并不愿意在背后谈论别人，什么都没打听到的爱玛失望的跟奈特利先生抱怨，奈特利先生却问到：“你为什么对弗兰克.邱吉尔这么感兴趣呢？”——听到这里我觉得有些好笑，似乎奈特利先生颇有些吃醋的味道呢，虽然从神态和语气上都没有表现出来，不过也许正是片中的一个细节暗示呢。弗兰克终于来了，初次见面，爱玛对他印象很好。这里的场景三是在接下来的一次聚会上，爱玛为大家唱歌。唱到第二段的时候弗兰克忽然加入，和爱玛一起唱起来，让大家颇为意外；再加上歌词的内容是在向心爱的人表达爱慕之情，弗兰克的此举实在是很明显的献殷勤。这段场景中最有意思的是在场的每个人的不同表情：爱玛一看就是开心得不行；史密斯小姐则是有些羞涩地微笑，看得出她是为爱玛高兴，但同时也觉得弗兰克的这种行为有些大胆，让人觉得难为情；韦斯顿夫妇心神领会的互看了一眼，很高兴的样子，看来他们很希望自己的儿子能与爱玛成为一对；奈特利先生就更有意思了，弗兰克没加入之前，他一直微笑着在听爱玛唱歌，弗兰克加入后，他先是惊讶的表情，然后变成了不苟言笑的表情，看不出在想啥，但肯定不会是开心；简.菲尔费克斯小姐有那么一瞬间表情有点僵，但很快又出现了微笑，虽然看起来像是挤出来的笑容，似乎在强烈的掩饰内心。这是一段很有暗示性的场景，因为直到影片最后，各个主人公感情世界的谜底才真正揭开。我很喜欢爱玛这段的表演：爱玛是个聪明的女孩，在弹琴唱歌上有一些天赋，可是因为娇生惯养吧，又不愿意真正下苦力去练习，所以她的弹唱虽然拿得出手，但离完美还差得很远。她很喜欢大家都注意到她，认为她多才多艺，所以当有人请她唱歌时，可以很明显的看出她的推辞只是礼节上的客气，内心其实有些得意。从这里是不是不少女孩又看到了自己的影子呢？而当她唱完后，简.菲尔费克斯小姐接着表演时，爱玛自己也听出了和简的巨大差距，于是非常失落，尤其是看到奈特利先生也被简的歌声所吸引，露出欣赏的表情时，心里就更不是滋味了。这里也有个有趣的细节：奈特利先生看似在全神贯注的听简唱歌，但似乎感受到了一旁爱玛不是滋味的目光（可见奈特利先生的心其实在哪里啊，呵呵），回过头去看了爱玛一眼，只见爱玛立刻把目光转移开了；奈特利先生明白爱玛是在嫉妒简了，颇有意思的坏笑了一下，起身坐到了爱玛旁边。看到这里我不禁又一次笑起来：两个人怎么就跟小孩子似的，这么好玩。不过后来当爱玛承认自己不如简的时候，奈特利先生安慰她说她也表演得很好，这里的跟97版有些不一样——97版的奈特利先生可是直截了当的说“as you say”，把爱玛气得……呵呵。虽然我觉得97版的处理更贴近奈特利先生的性格，对爱玛从来都只说真话，从来不flatter爱玛，但我也很喜欢这里的处理方式，因为在奈特利先生心中，爱玛确实也表演得不错吧，所以不算是flatter，而且也比较符合这个版本的奈特利先生的风格——更亲切近人一些。场景三视频：http://www.ku6.com/show/kNOaZX9giMiIHGWl.html第四个场景便是奥斯汀小说中都会出现的舞会了。场景一和二中曾提到爱玛想给埃尔顿先生做媒，而到史密斯小姐因为听了爱玛的劝阻而拒绝了农夫马丁的求婚。正如奈特利先生猜想的那样，爱玛确实想撮合史密斯小姐和埃尔顿先生。可是不久爱玛就发现自己把事情弄糟了，因为埃尔顿先生居然向爱玛求婚了，不过当然遭到了爱玛的拒绝，不久之后埃尔顿先生娶了另一位有钱人家的小姐。这里写的场景是在一次舞会上，因为没有人邀请史密斯小姐跳舞，韦斯顿夫人出于好心把史密斯小姐介绍给了埃尔顿先生，希望埃尔顿先生能邀请史密斯小姐跳舞。因为爱玛曾经拒绝过埃尔顿先生的求婚，而埃尔顿先生也知道爱玛曾想撮合自己和史密斯小姐，出于对爱玛的报复心理，埃尔顿先生在众人面前拒绝了和史密斯小姐跳舞，让史密斯小姐非常难堪，也让看到这一幕的爱玛气愤不已。不过没过几秒钟，爱玛的生气就转为欣喜了——她看见奈特利先生竟然把史密斯小姐领下了舞池。爱玛知道奈特利先生对跳舞并不热衷，她甚至都没见过奈特利先生跳舞（该场景之前曾有一幕交待过）。于是这场舞一结束，爱玛便找到奈特利先生，表达了自己的欣喜和赞赏之情。我非常喜欢这段场景里的奈特利先生，非常绅士。虽然他邀请史密斯小姐跳舞似乎是一件很容易很简单的事，可是还是能从中看出很多东西：首先埃尔顿先生已经拒绝了史密斯小姐，而大家都知道史密斯小姐只是一个私生女，并非名门闺秀，如果不是因为爱玛把她当朋友（Emma的老爸似乎是镇上的首富），多数人根本就看不起她，此时英雄救美似的去请史密斯小姐跳舞，无疑会得罪埃尔顿先生，大多数人恐怕不愿冒这个风险；第二，前面已经交待过奈特利先生不喜欢跳舞，这恐怕还是爱玛第一次看到奈特利先生跳舞；第三，从前面场景的暗示来看，奈特利先生应该是喜欢爱玛的，可是他却一直没有邀请爱玛跳舞，而在这次舞会上，爱玛似乎一直在和弗兰克.邱吉尔先生跳舞，面对心爱的人和“情敌”如此亲近，奈特利先生似乎也没任何行动，因此我相信奈特利先生决不是因为要讨好爱玛才去请史密斯小姐跳舞的，即使爱玛不在场他也会这么做。所以说，奈特利先生邀请史密斯小姐跳舞，从某种程度上来说，实际是一件难能可贵的事，让我们看到一个真正绅士的高贵品质。这里同样有一个细节非常有暗示性：爱玛正和奈特利先生谈论刚刚发生的事，韦斯顿先生前来提醒爱玛说还剩最后一支舞了，让她不要错过。于是爱玛转身准备回到舞厅——哎，真的是转身就走了，似乎想都没想到要和奈特利先生跳舞，看来奈特利先生是真的从没请过爱玛跳舞啊——这个时候奈特利先生终于叫住爱玛问到：“你准备和谁跳舞呢？”爱玛稍稍有些吃惊，但很快答到：“和你，如果你邀请我的话”，又笑着补充道：“我们又不是真正的兄妹，在一起跳舞也没什么不对劲吧”。奈特利先生也笑了：“兄妹？当然不是。”而后又小声自言自语道：“不，我们确实不是兄妹。”这里和第一个场景其实形成了对照，在那里奈特利先生曾对爱玛说：“理论上讲我应该算你的哥哥。”呵呵，看来奈特利先生不希望和爱玛做兄妹啦。因为和史密斯小姐跳舞那段很短，之后奈特利先生和爱玛的共舞可让我饱眼福了——oh my god，为什么嘴上说不喜欢跳舞的男人跳起舞来是如此的优雅，难道是在背后偷偷练习的么？有去学跳舞的强烈冲动——虽然在曾经的留学生活中还真的参加过一次类似这样的舞蹈lancier。顺便提一下，有细心的网友说，在这个场景中奈特利先生和爱玛跳的舞，在1995年版的《傲慢与偏见》中，达西和伊丽莎白也跳过——呵呵，我都没有发现。找来看了一下，果然，音乐和舞步都一样，不过感觉还是奈特利先生跳得更好。 场景四视频：http://www.ku6.com/show/_WKICzM60c_WpCuG.html接下来的第五个场景是我的最爱，无论是96版还是97版。这段情节直接表现了奈特利先生为他人着想的心灵以及对朋友的坦诚。贝茨小姐是Emma家的老邻居，她是个很可怜的女人，家境贫寒，而且一直没有嫁出去，成了老姑娘。但她为人淳朴善良，只是很喜欢唠叨，让爱玛多少觉得有点不耐烦。在一次郊游时，爱玛当着所有人的面嘲笑贝茨小姐经常唠叨，说话愚蠢；尽管爱玛说的很含蓄，贝茨小姐还是听懂了，显得非常难堪，也很伤心。郊游结束后，奈特利先生把爱玛拉到一边，非常严厉的批评了爱玛。看完这段让我对奈特利先生的喜欢达到了极致。虽然他做的并不是什么惊天动地的大事，可是仍然让我非常感动。试想，其实在场那么多人都知道爱玛在嘲笑贝茨小姐，可是除了奈特利先生以外，还有谁去批评爱玛说这是不对的呢。当然了，爱玛家在镇上的地位很高，一般人不愿为了贝茨小姐去得罪爱玛，但这些人中也不乏爱玛的好友或者熟人，包括爱玛的前家庭教师韦斯顿夫人，可是他们都没有说话。再加上奈特利先生其实是喜欢爱玛的，但他并没有考虑把爱玛狠批一顿会不会引起爱玛对自己的怨恨，这就更加难能可贵了。而且他批评爱玛的话也那么在情在理，当爱玛和他争论说“我也承认贝茨小姐是个好人，但她身上确实有很多可笑之处”时，奈特利先生说到：“如果她的处境和你相同，我不想跟你争论任何言论自由的问题；但她很穷！从她出生就是如此！而如果她真的这样成为老姑娘的话，她的情况会更糟！她的处境在任何一个方面都无法和你相比，你应该同情她！你做得太糟了！她看着你长大，把你的关心当成荣誉；而今天，你却揶揄她，嘲笑她，还在很多人面前，别人会照着你的样子来对她的！……说这些对我来说不是一件愉快的事，但我还是要尽我所能的对你讲真话——这证明我是一个真正的朋友，可以给你最忠实的劝告。相信有一天你会给我一个公证的评价，而不是向你现在这样。”从这段话里，我们可以看出奈特利先生对贝茨小姐的同情，设身处地的为她着想，以及对爱玛的坦诚，还有对她改正缺点的希望。真的是非常打动我的一段——一个成熟睿智，考虑周全，细心坦诚的男人，而且是那样的贴近生活，那样的真实。场景五视频：http://www.ku6.com/show/Ue22vOW3VyT0zyOZ.html第六个场景是关于爱玛的，在这一段里，爱玛终于发现了，原来自己真正所爱的人，一直就在自己身边。在爱玛周围的人看来，爱玛和弗兰克.邱吉尔先生是很相配的一对。弗兰克频频向爱玛献殷勤，似乎在追求爱玛；爱玛也似乎乐于接受这一切。但当弗兰克的舅母去世后，弗兰克继承了遗产，于是真相大白了：弗兰克早就跟简.菲尔费克斯小姐秘密订婚了。因为简家境不好，弗兰克担心舅母知道后会剥夺自己的继承权（前面已说过弗兰克是过继给他舅舅一家的），于是他假意追求爱玛，以掩盖与简相恋的真相。爱玛早已察觉自己并没有真的爱上弗兰克，所以得知这一切后也并没有受什么打击。但她却误以为自己的朋友哈利特.史密斯小姐喜欢弗兰克，于是在这段场景里，爱玛赶去安慰哈利特，却惊讶的发现哈利特爱上的原来是奈特利先生！而且哈利特甚至还说奈特利先生也暗示过喜欢自己！这时候，爱玛才蓦然发现原来自己心底一直深深的爱着奈特利先生。而这时奈特利先生正在伦敦他弟弟家里——走之前他曾告诉爱玛说自己有件棘手的事要跟弟弟商量。联想起前前后后的一切，爱玛认为奈特利先生一定去找他弟弟商量娶史密斯小姐的事了。这里有个细节很搞笑：当爱玛找到自己的前家庭教师韦斯顿夫人倾诉这一切时，说到“我希望约翰劝告他要谨慎，毕竟我们连哈利特的父母是谁都不知道，搞不好他们是海盗呢。”听到这里我都快笑死了，想想前面的第二个场景，爱玛曾那么肯定的跟奈特利先生说哈利特是绅士的女儿呢，现在变得那么快。这段爱玛的表演虽然有些夸张，却让人感到一种小女生的可爱。而当她告诉韦斯顿夫人“I love him! So dearly, so greatly”时，那种真挚的语气也让我动容。场景六视频：http://www.ku6.com/show/_4FGEDFwiXB1Jfon.html最后要写的场景七就是激动人心的表白啦。爱玛从教堂回来时在路上遇到了刚刚从伦敦赶回来的奈特利先生。爱玛一直以为奈特利先生要告诉自己娶史密斯小姐的事，于是不停的岔开话题，这一段看得我着急死了，于是剪辑场景七的时候干脆把这段咔掉了。爱玛跟奈特利先生提到了弗兰克和简订婚的事，奈特利先生竟然也一直认为爱玛喜欢弗兰克——呵呵，看来奈特利先生也有个缺点啊，看别人都看得很清楚，比如他早就看出了简和弗兰克之间的亲密，甚至还提醒过爱玛，不过自己的心上人到底喜欢谁，他竟没看出来——于是他很诚挚的安慰爱玛，说时间会治好心灵所受的伤。不过爱玛很快就告诉他弄错了，自己并没有爱上弗兰克，听到这里奈特利先生露出了欣喜的神情，呵呵。但当奈特利先生鼓足勇气想要向爱玛表白时，爱玛竟认为他要说娶史密斯小姐的事了，于是打断了奈特利先生，让奈特利先生失望的走了——看得我郁闷无比。还好爱玛心有不忍，立刻追了上去，终于让奈特利先生说完了想说的话。呵呵，当爱玛同意的一刻，奈特利先生的神情真的很可爱，从来没看到他那么深情过。甜蜜的吻，结束了这一幕。场景七视频：http://www.ku6.com/show/M8U17jvKsSKr8w5e.html喜欢爱玛，是因为她天真善良的本性，虽然她有不少的缺点，但她总是努力地去改正，她是可爱的，也是真实的，在她身上，相信很多女孩，包括我，都可以多多少少看到自己的影子。而喜欢奈特利先生，除了他英俊的外表和绅士的风度，更重要的是他的成熟睿智，他的高尚心灵。虽然他所做的都不是什么了不起的伟大的事，可是正因为如此贴近生活，才让我们感到真实——这也是为什么我认为《音乐之声》中的特拉普上校是最最完美的男主角，但奈特利先生却是我最最喜欢的男主角。http://polymercat.blog.hexun.com/16107043_d.htmlhttp://polymercat.blog.hexun.com/16108074_d.html

【简•奥斯丁的六本著作中，我最偏爱《爱玛》，而1996年格温妮丝版的《爱玛》，则是我最喜欢的电影之一。我建过一个叫“Jane的治愈系”的豆列，里面收录的片子的标准很肤浅：帅哥，美女，好结局。但确实都是我最常重复翻看的经典，这部在里面排得上前三位。】1简•奥斯丁的六本著作中，我最偏爱《爱玛》。年少时的偏爱，是一种懵懂的扬眉吐气。比起其他几本书的女主角，因财产的困窘甚至相貌平凡，非要靠男主的赏识才能走到一个好结局；在这本里，爱玛明明白白的漂亮，清清楚楚的有钱，光明敞亮不算计也不自卑地展现一段纯粹的爱情。最佳的佐证是，达西先生一万英榜的身家在我脑中清晰可现，而奈特利先生到底身家几何我却答不上来。以今时今日的眼光看，这其实是现在但凡大火的剧集的必吹因素：反套路。当现在被言情小说及改编戏剧刷腻味的观众回过神来，觉得奥斯丁的小说其实不过是灰姑娘玛丽苏套路的经典版时，在她生前最后一部面世的小说里，她其实已经完成了自己的反套路。在这部被评价为奥斯丁本人最成熟的小说中，女主角爱玛的形象塑造堪称完美： “爱玛•伍德豪斯，漂亮、聪明、富有，还有舒适的家庭和快活的性情，生活中一些最大的幸福，她似乎都齐备了。她在世上过了将近二十一年，很少有什么事情使她痛苦和烦恼过。”在全书一开篇，我们看到的就是这样的爱玛。尽管在玛丽苏当道的今天，这些优点像不要钱一样被作者和编辑堆砌在女主角身上。但对于简•奥斯丁的女主角来说，这简直太难得了——特别是女主角本来应有的标配——漂亮。这直接导致了在奥斯丁小说改编的影视中，饰演爱玛的演员理所应当的拥有所有女主角中的最高的颜值。作为简•奥斯丁的读者，这实在是让人松了一口气：导演终于能放心大胆地去用漂亮的女演员了。在这点上，不得不说，之前改编奥斯丁小说的导演们都太实诚了。哪怕高超如李安，《理智与情感》都不能让我免于第一眼的失望。而在感受过影版《曼斯菲尔德庄园》选角惊吓的人，大概都能理解这种庆幸。格温妮丝•帕特洛和母亲布莱思•丹纳2从这一点来说，1996年版本中，格温尼丝•帕特洛演的爱玛，实在让人满意。爱玛的漂亮，是一种整体的感觉。从细节上，格温尼丝没有“褐色的眼睛”，对于“高矮肥瘦适中”来说，她也许太高了。但当时25岁的格温妮丝身上有让人会心一击的感觉。“不单是她的青春气息里有健康的美，而且她的神情里、头脑里和她眼睛的一瞥里都有。”爱玛需要美得聪明，美得优雅，美得从容而不在意。从原著要求的庄重挺直的姿态来看，很少有人比后来成为优雅代名词的格温妮丝做得更让人过目难忘。这部在电视里放了无数遍的英国电影，就算没有看全的人也会记得：格温妮丝的脖子太美了。那是一种真正的，毫不夸张的像天鹅一般的优美曲线。人们大概会惊讶于一个美国女演员居然能如此的与英伦范的优雅所契合，就连英式英语的口音都纯正得毫不出戏。这种特质，将会在她1998年演的《沙翁情史》中显露得更完全，并且格温妮丝最终凭此片获得了第71届奥斯卡最佳女演员奖。但在1996年时，这种生动和美更多的是一种与角色契合的自然流露。包括她的成长经历，父亲是电影制片人，母亲布莱思•丹纳是著名的电影演员，从儿语识字起就陪母亲练习台词，金色的童年和优渥生活带来的气质和姿态都与爱玛异曲同工。《爱玛》这部电影成为格温妮丝的成名作也便不足为奇。但如果只是这样的爱玛，未免也太表面了。在数个版本的爱玛中，格温妮丝最让人难忘的地方在于，即使在她充分展现爱玛的缺点时，也能恰到好处的让人包容和不讨厌。3是的，缺点。如果仅把爱玛当成是奥斯丁为了自己虚荣心创造的完美女性，那看到的东西实在太浅薄了。事实上，没有哪一个她笔下的女主角，受到像爱玛这样苛刻的审视和批判，也没有哪个女主角，会犯下像她这样让人明显的让人反感的错误。爱玛被认为可能是奥斯丁最成熟的作品，我觉得真正的意义在于，她在做一个“真空实验”，尽其所能的讨论一种可能性：在一个女性拥有美貌、财产、地位，在排除一切客观条件缺憾的情况下，在绝对自主和自由的人生中，她应该追求和选择的是什么。正像凯特尔所评价的：“使《爱玛》产生感人力量的是简•奥斯丁态度背后的感情深度和现实主义，……她以一种一丝不苟，然而又是热情洋溢并具有批判眼光的精确性，检验了她的天地中存在的问题。”凯特尔承认这个天地是狭小的，但重要性不能用题材的大小来衡量。于是，影片一开头，就能看到爱玛所置身的狭小天地：有时一个人生活的小镇，就是他的整个世界。参加舞会比参加军队给他带来了更多的乐趣。就有这么一个姑娘，她深知在这个世界怎样来生活。可以说，爱玛的人生，是一个完全不需要努力的人生。不然也不至于在21岁的年纪，空虚到以给人作媒为乐，以至牵错红线之后引发了整个故事的发展。作为海伯利这个小镇社交食物链顶端的爱玛，被奥斯丁这样审视：爱玛处境的真正的不利，其实就在于她有权过于任性，而且对自己的估计往往略微偏高一点。奥斯丁借本书男主角、唯一能指出爱玛缺点的奈特利先生的口说：“我认为她并不为外貌自负。她的自负在另一方面。”当错误真正发生后，奥斯丁给爱玛的批判极其严厉：“她出于叫人无法忍受的自负，自以为了解每个人的感情秘密；出于不可饶恕的自大，硬要安排每个人的命运。结果证明，她全都做错了。”爱玛的可贵之处在于，这段批判，其实是她对自己的反省。演员的难度在于，没有像书中那么多台词表现心理活动以取得读者的谅解，而她做的错事，却全在观众眼里。影片以一种喜剧的方式处理了爱玛的小促狭，这些不完美在英式幽默的节奏下，换得观众的轻松一笑。而2008年BBC正而八经拍摄的版本里，足以证明感觉稍有差池，这些行为是多么的容易让人脸红和厌恶。但真正面对自己错误的爱玛，是坦率，真诚，同时也不失自己的风骨的。她反省的真诚让人原谅，但对自己的世界观和原则的坚持，又让人不会觉得有终于等到她自食其果的幸灾乐祸。这是属于格温妮丝给角色带来的魅力。这样的爱玛，在表现本片的经典场面之一时，才让人信服：当哈丽埃特•史密斯问爱玛，想知道爱玛为什么不结婚时，爱玛说：“我不愿意结婚。财产，我不需要；工作，我不需要；地位，我也不需要。我想信，结了婚的女人没有谁在丈夫家能有一半像我在哈特菲尔德这样做主的。我绝对不能指望有哪个男人像我父亲一样疼爱我、重视我、始终把我放在第一位，认为我样样都正确。”哈丽埃特惊呼，那到头来你会像贝茨小姐那样，成为一个老处女了。爱玛给出了本片的名台词：只有贫穷才使独身可耻。格温妮斯那种带着聪慧天真的理直气壮，足以让人相信，即使她真的单身到老，那也是出于她对自己命运的看透和把控，而不是命运对她错误的惩罚，她的生活不需要婚姻来变得更好。这样的爱玛，才能遇到最好的爱情——她决不会因为没有爱情而去改变目前的处境。4爱玛命运更多的可能性，则要在男主角奈特利先生的的视角才能看得到。如果说，哪个版本的爱玛是最好的尚有争议，1996年版的《爱玛》之所以成为经典的原因之一是，它贡献了一个最好的奈特利先生。这个在原著中“一百个人中都找不出一个的绅士”，在影视化之后甚至有超出原著的魅力。在纵向比较中，这个绅士形象在我心目中甚至优于BBC版的达西先生。1961年出生于英国剑桥的杰瑞米·诺森在扮演奈特利先生时35岁。这个双亲均是剑桥大学的文学教授，早年在伦敦大学主修英文，后在布里斯托尔戏剧学校专修戏剧的演员，让人切实地感到了原著中三十六七岁的奈特利先生的魅力，消除了想象中这个角色年老又跛脚的担心。那种教科书般令人心旷神怡的英国绅士风度，在书中需要大量的描写，而在他只需要举手投足的风姿就能做到。这是2008年BBC版的奈特利先生就算丢掉拐杖也无法做到的。35岁的杰瑞米·诺森和25岁的格温妮丝在已有的各个版本中，最大程度的呈现了原著中16岁的年龄差带来的美妙的化学反应。相比甜言蜜语，这一对让人们看到的是，当爱人以诤友的形式出现，一个最了解你的优点和缺点并不吝指出的人，在精神成长上将带来怎样的帮助。书中的奈特利先生最让人动容之处，是对爱玛精神上真正的关心。这种关心甚至比父母对孩子无条件的关心要更可贵，毕竟很多父母，只要希望孩子快乐就好了。但奈特利先生不是的，看着爱玛长大的他了解她的优点，甚至是这优点带来的不足。“爱玛是家里最聪明的人，因此给宠坏了，她不幸在十岁那年就已经能回答连她十七岁的姐姐都答不上的一些问题。从十二岁起，爱玛就成了家里和你们所有人的女主人了。”面对有天赋但所有才华都不到精通的爱玛，他对她原本有更高的期待。“我已经不再指望爱玛认认真真地读书了。她永远也不会干任何需要刻苦和耐心的事，也不会做任何让幻想屈服于理智的事。”他比任何人都更早看出了爱玛将哈丽埃特作为闺蜜的害处，不在于她想当然的做媒，比起阶级，更关乎头脑：“她自己什么也不懂，却把爱玛看得什么都懂。她百般奉承她，正因为不是故意的，那就更糟。”何其透彻，何其有幸。在影片中，在完全没有这些背景交待的情况下，奈特利先生的魅力，集中体现在和爱玛争吵指出她错误的两场戏。一场戏是得知爱玛怂恿哈丽埃特拒绝了农夫马丁的求婚。设置的原著中没有射箭场景，是影片的最佳改编之一。在和爱玛交替射箭的节奏中，争吵变得有张力：“不管怎么说，一个有理智的男人，是不会娶一个傻瓜老婆的。”他射出一箭，收起弓弦，眼神认真，“记得我的话，爱玛。像你这样乱耍小聪明，还不如傻一点呢。”这是对爱玛洋洋得意的警告，甚至演出了一丝不易察觉的宠溺。另一场则是爱玛公开嘲笑了贝茨小姐的蠢笨之后，奈特利先生对爱玛的斥责。影片加强了原著中贝茨小姐听懂之后的尴尬和静默，镜头直接切换后的带来的力度，“她很可怜，甚至她自出生以来就很可怜，如果她真的这样成为老姑娘的话，她的状况会更糟。你做得很差劲，爱玛。很差。她看着你长大，把你的关心当成是荣誉，而今天，你却揶揄她，嘲笑她，还在很多人面前，别人会照着你的样子来对她的。”来自男人对女人的指责，要如何才不让人反感？奈特利先生做了最好的表率。有的男人指责女人，会挑剔，会贬低，会比较，会高高在上。但奈特利先生所有的考虑都是从爱玛的角度出发，行为不妥的原因，所带来的后果，以及爱玛需要承担的责任。观众能直接感受到书中爱玛的感受：她一生中，从没在任何情况下感到这样激动、屈辱和伤心过。她受到了极大的打击，但是——他那一席话说得中肯，那是无法否认的。从经典场景的改编来看，编剧的对关键情节的渲染甚至比原著要强。在格温妮丝和杰瑞米·诺森发挥了一场比原著更精彩的表白戏时，我终于有点理解一些书评对原著的不满：行文太絮叨了，啰啰嗦嗦，东拉西扯，情绪一上来就被打散，消磨了关键台词的感触。而在电影中，相遇的惊喜，试探，误解，缓和，表白，一气呵成，树林中听到表白的格温妮丝的神情从悲伤到难以置信的欢喜，阳光透过树叶在蓝色眼眸中透出的光影，脖颈优美的角度，组成了我印象中她最美的一幕。5当然，这部电影也不是全无缺点。电影主角选用上的出色，反而更加突出了配角的不合适。原著中16岁，“恰好是爱玛喜欢的长相”的哈丽埃特，在电影里显得比爱玛还要大好几岁，并且和美一点沾不上边。这不仅让人对爱玛把她当成闺蜜，并且进行如此不实际的拉郎配感到更加的荒谬和不可理喻，同时还让奈特利先生的判断打了折扣——也许牧师不娶她，并不是因为傻，而是因为不够美呢。同理于牧师的选角，书中长得“俊俏非凡”的牧师埃尔顿先生，在电影中更像是一个负责滑稽角色。爱玛的选择也便没有书中那么强烈的象征意义。除了选角的原因，电影对配角的性格进行了平面处理，对这些人物丰富的层次进行了弱化，因而人物也便显得单一。原著中人物的可爱与可取之处，奥斯丁对不同女性命运进行的思考，也便没有到达原著应有的深度。比如文中的这段，“邱吉尔太太和简•菲尔费克斯之间社会地位之悬殊使爱玛感触很深；她们一个是主宰一切，而阵个却是微不足道——她坐在那儿默默思考着妇女命运之不同，根本不知道自己的眼睛看着什么地方。”在电影中便完全无力着点。这部电影最终的奖项也和它的选择相衬，它得到了第69届奥斯卡音乐/喜剧片最佳原创配乐，提名了最佳服装设计。在制作上它可以和一流的电影一较高下，但始终缺少了一点更打动人心的力度。对于没看过原著的人来说，这大概只是一个轻快好看的爱情喜剧。对于看过原著的人来说，这部电影提供了近乎完美的，最好最般配的爱玛和奈特利先生。------------------------------------------end-------------------------------------------------------作者简介：简洁，杂志编辑。双子座，不分裂。见过了许多人，想讲自己的事。微博@mayjane,豆瓣@jane，公众号：简影录@everyjane

我整理的一部分剧本喜欢这部电影的朋友可以用得上Narrator: In a time when one's town was one's world, and the actions at a dance excited greater interest than the movement of armies, there lived a young woman who knew how this world should be run.Emma: The most beautiful thing in the world is a match well made and a happy marriage to you both.Mrs. Weston: Thank you, Emma. Your painting grows more accomplished every day.Emma: You are very kind, but it would be all the better if I practiced my drawing more as you urged me.Mrs. Weston: It's very beautiful.Mr. Elton: I should never take side against you, Miss Woodhouse, but your friend is right. It is indeed a job well done.Emma: A job well done, Mr. Elton, was yours in performing the ceremony.Mr. Woodhouse: Must the church be so drafty, Mr. Elton? It is very difficult to surrender the soul when one is worried about one's throat.Mr. Elton: Perhaps some tea and cake would revive you, Mr. Woodhouse?Mr. Woodhouse: Miss Taylor, surely you're not serving cake at your wedding? Far too rich. You put us all at peril. And I am not alone in feeling so.Where is Mr. Perry, the apothecary? He will support me.Mrs. Weston: He is over there, Mr. Woodhouse, having some cake.Mr. Woodhouse: What?Emma: I have to take Father home. But dear Miss Taylor--Oh, no! You are"Dear Miss Taylor" no more! You are dear Mrs. Weston now, and how happy this must make you. Such happiness this brings to all of us.Mrs. Weston: My dear Emma!Mr. Woodhouse: Poor Miss Taylor. She was so happy here. Why should she give up being your governess only to be married?Emma: I am grown now. She cannot put up with my ill humors forever. She must wish for children of her own.Mr. Woodhouse: You have no ill humors. Your own mother, God rest her, could be no more real than Miss Taylor. Can she truly wish to give life to a mewling infant who will import disease each time it enters the house? No! I said poor Miss Taylor and poor, indeed, she is.Knightley: As an old friend of the family, I had to ask as soon as I got back: Who cried the most at the wedding?Mr. Woodhouse: [Chuckling]Emma: And how is my sister? Is your brother giving her the respect we Woodhouse ladies deserve?Mr. Woodhouse: Poor Isabella. She was the first to leave me. No doubt, that is where Miss Taylor got the notion to go.Knightley: Don't be too hard on Miss Taylor. It must be easier for her to have only one to please than two.Emma: Especially when one of us is such a troublesome creature.Mr. Woodhouse: Yes, I am... most troublesome.Emma: [Giggles] Dear Papa, I could never mean you. Mr. Knightley loves to find fault with me, that's all. It's his idea of a joke.Knightley: I'm practically a brother to you, Emma. Is it not a brother's job to find fault with his sister?Mr. Woodhouse: But where is the fault with you?Emma bears it well. But she is most sorry to lose Miss Taylor.Knightley: We would not like Emma so well as we do if she did not miss her friend.Mr. Woodhouse: Thank you.Emma: I shall miss her so. I do not know what I shall do without her.Knightley: She's not far. Mr. Woodhouse: Almost half a mile!Emma: Her obligations are there now. She cannot sit and talk with me in the old way, or walk with me, or urge me to better myself.Knightley: That should not matter as you always did just as you pleased.Emma: Yes. But I shall miss her urging me. She was as selfless a friend as I have ever had. I hope to say someday I have done half as much for someone as Mrs. Weston did for me.Knightley: You must be happy that she settled so well.Emma: Indeed! One matter of joy in this is that I made the match myself. People said Mr. Weston would never marry again, and what a triumph.Knightley: Triumph? You made a lucky guess.Emma: Have you never known the triumph of a lucky guess? Had I not promoted Mr. Weston's visits, and given encouragement where encouragement was needed, we might not have had a wedding today.Mr. Woodhouse: Then please, my dear, encourage no one else.Marriage is so disrupting to one's social circle.Emma: Only one more, Papa. When Mr. Elton joined their hands today, he looked very much as if he would like the same kind office performed for him.Mr. Woodhouse: [Sighs] Invite him for dinner. That is kindness enough.Knightley: Mr. Elton is a man of 26. He knows how to take care of himself.Emma: One does not like to generalize about so many people all at once, Mr. Knightley, but you may be sure that men know nothing about their hearts whether they be six and twenty or six and eighty. Excepting you, of course, Father.Mr. Woodhouse: [Chuckles]Emma: No. Mr. Elton will be the next person to benefit from my help.Knightley: Poor Miss Taylor, indeed! It is Mr. Elton who deserves our pity.Mr. Woodhouse: [Chuckling]Emma: Mr. Elton! Welcome to our party.Mr. Elton: Miss Woodhouse, thank you indeed for including me. A party is a party. But a party on a summer's eve, mmm!Emma: It relieves my mind very much that you are here, for there is someone new in our group. Her name is Harriet Smith. And she is a former pupil of Mrs. Goddard's. I had never met Miss Smith before this evening and I'm already struck by her charm. I wondered if I might ask you to make certain she is at ease throughout the evening.Mr. Elton: If helping Miss Smith would help Miss Woodhouse, then I'm happy to be of service.Emma: Come. I shall make the introduction.Miss Bates: Miss Woodhouse, we come quite overpowered.Emma: Oh, Mrs. Bates, Miss Bates. So happy you could come.Miss Bates: No! We are the happy ones. W-Well, how do you do, Mr. Elton? We are the happy ones, not only to be here tonight, but for the beautiful hindquarter of pork you sent us. It has been heaven itself. What a happy porker it must have come from! We're so obliged for your sending it to us. Pork! And we're so obliged for your having us tonight, very much indeed. I was just saying to Mother, we should be obliged and indeed we are.Oh, doesn't your hair look pretty? Just like an angel. Angel, Mother! Oh, speaking of angels, Mr. Elton, your sermon on Daniel in the lion's den was so inspiring, so powerful in all its particulars. It left us speechless. Quite speechless, I tell you. We have not stopped talking of it since. Isn't this a lovely party? Lovely! Lovely! Lovely! Knightley: Where will you live now that you've completed your education? Harriet: Mrs. Goddard has been kind enough to let me stay on with her. Mrs. Goddard: She's a great help to me. If you'll excuse me.Mr. Woodhouse: Mrs. Goddard.Emma: Mr. Knightley.Knightley: Ah, Emma. I wondered where you were. But now I see you've been hard at work making Mr. Elton comfortable.Emma: Yes, Mr. Knightley, but I've been remiss in doing the one thing that shall bring him the greatest enjoyment. Mr. Elton. May I present Miss Smith?Mr. Elton: Any friend of Miss Woodhouse is-Emma: Mr. Weston, have you had any news of your son?Mr. Weston: Oh, indeed. Miss Smith, I was married many years ago to a woman whose life was lost to illness just three years after the birth of our son, Frank. As I could not see to my business and care for the infant, I allowed him to be brought up by my wife's brother and his wife, the Churchills. He lives in London now, a young man, and has never been here. His aunt is not well and she does not care to be without him. Mrs. Weston: His coming would be the final blessing for our marriage.Harriet: How lucky to have been twice blessed in marriage. It has been my belief that one loves only once. I'm happy to be wrong.Mr. Weston: Not so happy as I, Miss Smith. Mrs. Weston: I had the most pleasing letter from him on the occasion of our marriage. I have it here if anyone would care to see it. Miss Bates: A most charming and kindly letter. Don't you think so, Mother? Have, have you ever read such a letter, Mr. Knightley? Do you know, this, this reminds me of Jane's style somewhat. It's a very delicate style which is more usual in a woman, but a good sign in a man, I think.Mr. Woodhouse: Nicely expressed. But it sounds as though he eats a worrisome amount of custard.Mrs. Goddard: It's not merely the feeling in it. The penmanship is so confident.Mrs. Weston: Isn't Miss Smith delightful? Emma: I watched her with continuous pleasure. She is uncertain in these surroundings, yet I thought perhaps I could be of service to her, undertake her introduction into Highbury society. I could never presume to guide her as you did me.Mrs. Weston: Oh! Emma: But I might be able to share a little of what I know. Mrs. Weston: She could ask for nothing better. Come, Mr. Weston, I must write to your son. Good night, Mr. Woodhouse.Mr. Weston: Good night, Mr. Woodhouse. Good night, Emma. Thank you for a wonderful dinner.Mr. Woodhouse: Good night, Miss Taylor.Emma: Good night, Mrs. Weston, Mr. Weston.Mr. Weston: Good night.Mr. Woodhouse: Poor Miss Taylor. She so obviously wanted to stay.Emma: How interesting, Miss Smith. And what kind of people are your parents?Harriet: I do not know. Mrs. Goddard has said that I cannot know them and so I have left it at that. Because of her attentions over the years, Mrs. Goddard has been my true guardian.Emma: [Gasps] Hurry along, dear. It's Miss Bates coming.As it is Tuesday, she will have a letter from her niece Jane Fairfax, and she will want to read us every word.Harriet: Oh, I do not know Miss Fairfax.Emma: There's not much to be said for her. When pressed, I say she is elegant.[Miss Bates Giggles][Miss Bates Chatting]Harriet: Besides you and Mrs. Goddard, the only other people I know here are the Martins of Abbey Mill Farm. Mrs. Martin had two parlors and an upper maid and eight cows! Mr. Martin used to cut fresh flowers every day. [Gasps]Emma: How lucky for Mrs. Martin to have such an agreeable husband !Harriet: Oh, Miss Woodhouse, Mr. Martin is not her husband. He is her son.Emma: Ahh! I see. And he is unmarried.Harriet: Mmm. Though I cannot understand why he seems perfect in every particular. He brought me walnuts once, and went three miles to get them just because he heard me say I liked them. Wasn't that kind? [Gasps]Emma: Tell me more about Mr. Martin. Is he a man of information?Harriet: Oh, yes. He reads the agricultural reports. And I recommended he read The Romance of the Forest, and he said he would.Emma: And what sort of looking man is he?Harriet: Mmm. I thought him very plain at first, but I do not think so now. Have you never seen him when he is in town? Emma: Families like the Martins are precisely the sort of people with whom I have nothing to do. A degree or two lower, and I might be useful to their families. But a farmer needs none of my help and is therefore as much above my notice as he is below it. In fact--Harriet: Miss Woodhouse, there he is now! How do I look?Emma: Fine, dear. Good enough I'm sure for Mr. Martin.Mr. Martin: Good day. This is a bit of a chance, isn't it?Harriet: Good day, Mr. Martin. Miss Woodhouse, may I present Mr. Martin?Harriet: This is Miss Woodhouse.Mr. Martin: Good day. How do you do?Harriet: Oh. Were you able to find The Romance of the Forest?Mr. Martin: Oh, blast! I forgot. But I go again tomorrow, and I will make every effort to get that thought into my head.Harriet: How's your mother?Emma: [Thinking] Really, Harriet, we can do better than this. lf you pull this way, dear, you'll find it makes a neater stitch.Harriet: Of course! May I ask what you thought of my friend, Robert Martin?Emma: Well, dear, I imagined him a degree nearer gentility. Harriet: True. He's not so genteel as Mr. Knightley, but--Emma: No! Not one in a hundred men has"gentleman" so plainly written across him as Mr. Knightley. But let us judge him next to another man. Oh, say... Mr. Elton. Mr. Elton is a fine man. Thoughtful in ways Mr. Martin can never be.Harriet: Miss Woodhouse, whatever his faults, Mr. Martin is thoughtful.Emma: I see. Did he take your advice and get the book you asked him to read?Harriet: Um--Well... no.Emma: Yes.Harriet: Yes! I wonder that he did not remember it.Emma: Oh, well. Mr. Elton said something very kind about you the other day.Harriet: Can you not tell me what it was?Emma: Oh! It is not my place to intrude in personal matters. But, as your friend, I could make an exception if you wish.Mr. Elton: Miss Smith was always a beautiful creature.But the attractions you have added are far superior.Emma: Oh, I have done very little. If it were admissible to contradict a ladyEmma: I cannot take credit for her beauty, or her sweetness, norMr. Elton: An idea has just dropped into my mind, surely from heaven itself. What if you were to exercise your artistic talents and draw a portrait of Miss Smith? How I would love to watch you draw her.Emma: Mr. Elton, my skills are slender indeed, and we must not forget how shy Miss Smith is.Mr. Elton: Oh. Do you think it would help if I asked her to pose?Mr. Elton: Oh, Miss Woodhouse, may I look, please? I cannot wait another second. Incredible.You have expressed her completely.Emma: Mr. Elton, really! You exaggerate.Mr. Elton: Indeed, I do not. Nor cannot.Emma: The reason I have not done a portrait in so long is because the spouse always complains. As there are no husbands or wives here, I trust I may proceed safely.Mr. Elton: No husbands or wives at present, Miss Woodhouse.Knightley: You've made her too tall.Mr. Elton: It... may not be Miss Smith's height in terms of measurement, but it is surely the height of her character.Mr. Woodhouse: My dear, I would paint a shawl on her as one can't help feeling that she will catch cold. Otherwise, it is quite splendid. It only wants a suitable frame. We will have to get it to London.Mr. Elton: Might I be entrusted with such a commission?I would be gratified more than words can express.[People Chatting, Cows Mooing, Sheep Bleating][Tapping]Harriet: He wants to marry me! Would you mind reading this?Emma: Certainly not! I cannot believe Mr. Elton proposed! He surely is--Harriet: Not Mr. Elton. Mr. Martin, my friend! Is it a good letter or too... short?Emma: It is a good letter! One of his sisters must have helped him. Yet, it is not in the style of a woman. Well, it is a good letter, and you must answer it immediately. He must have his disappointment and move on.Harriet: Well, you think I should refuse him?Emma: You did not plan to return an answer favorable to this claim?Harriet: No, I did not. That is, I did not mean--Um, well... I was not sure. That is why I came to you.Emma: It's not my place to intrude!Harriet: I depend so on what you think.Emma: I would not advise you for the world! If you prefer Mr. Martin to every other person you know, or may ever know, if you think him the most agreeable man you have ever been or ever will be in company with, then why should you hesitate? Harriet: But if you'll not influence me, I must do as well as I can by myself. So-- Well, I am determined to. And I have really almost made up my mind to refuse Mr. Martin? Oh, do you think that's right or wrong? Is it wrong?Emma: Now that you have decided, I will share the feelings I kept you in suspense of. I think you are perfectly right. Harriet: Yes. But--Oh, dear, it will make his mother and sisters most unhappy.Emma: Let us think of other mothers and sisters who may be more cheerfully employed at this moment. I believe Mr. Elton is showing your picture to his mother and sisters telling them how the subject is more beautiful than the portrait. Harriet: If he shows it, I am sure it is only to praise your artistry.Emma: If you are sure, then you are surely wrong. By showing it to them, he is revealing his deeper intentions which may produce a letter of his own. Harriet: Oh!Knightley: Very well, I admit it. You have improved Harriet Smith. Emma: I hope you're not the only man to have noticed.Knightley: I'm not. I believe your friend will soon hear something serious. Something to her advantage.Emma: Who makes you his confidant?Knightley: I have reason to believe that Harriet Smith will soon receive an offer of marriage from a man desperately in love with her. Robert Martin. He came here two evenings ago to consult about it. He's a tenant, you know, and a good friend. He asked whether it would be imprudent of him to settle so early. Whether she was too young or whether he was beneath her. Emma: Better questions for Mr. Martin I could not have chosen myself. Knightley: I never hear better sense from anyone than from Robert Martin. He proved he could afford to marry, and I said he could not do better.Emma: No, indeed, he could not. Come. I will tell you something in return. He wrote to Harriet yesterday.Knightley: Oh, yes? Emma: Yes. He was refused.Knightley: I'm not sure I understand.Emma: He asked and she refused.Knightley: Then she is a greater simpleton than I believed.Emma: The most incomprehensible thing in the world to a man is a woman who rejects his offer of marriage.Knightley: I do not comprehend it because it is madness. I hope you're wrong!Emma: I could not be. I saw her answer.Knightley: You saw her answer? Emma. You wrote her answer, didn't you?Emma: If I did, I would have done no wrong. He is not Harriet's equal. Knightley: I agree, he is not her equal.Emma: Good.Knightley: He is her superior in sense and situation. What are Harriet Smith's claims of birth or education that make her higher than Robert Martin? She is the natural daughter of nobody knows whom. The advantage of the match was entirely on her side.Emma: What? A farmer? Even with all his merit, a match for my dear friend? It would be a degradation for her to marry a person whom I could not admit as my own acquaintance.Knightley: A degradation? For illegitimacy and ignoranceto marry to a respected, intelligent farmer ?Emma: She is a gentleman's daughter.Knightley: Whoever her parents, they made no plans to introduce her into good society. She was left with Mrs. Goddard for an indifferent education. Her friends evidently thought this was good enough for her, and it was. And she thought so too until you began to puff her up! Vanity working on a weak mind produces every kind of mischief.Emma: Hmm. You dismiss her beauty and good nature.Yet I would be very much mistaken if your sex in general does not think those claims the highest a woman could possess.Knightley: Men of sense, whatever you may say, do not want silly wives. Upon my word, Emma, better be without sense than misapply it as you do.[Dog Whimpers]Knightley: Try not to kill my dogs. Emma: We see so differently on this point that there can be no use canvassing it. We shall only make each other angry! Ah, I see the tea is ready. Let's stop and have some.Knightley: Clearly, Emma, you have someone else in mind for your friend. But if the gentleman you dream of is Mr. Elton, your labor is in vain. As vicar, Elton is unlikely to make an imprudent match, especially to a girl of obscurity who may bring him disgrace. In unreserved moments, when only men are present, I have heard him speak of a large family of young ladies from Bath who all have 20,000 pounds apiece. Believe me when I tell you that he may talk sentimentally, but he will act rationally.Emma: If I had my heart set on Mr. Elton, then your opening my eyes would have been a kind service. But I care only to watch her grow.Knightley: No more, please! No more.[Applause]Mr. Elton: Bravo.Emma: Thank you, Charles. Mr. Elton.Mr. Elton: Hmm?Emma: Harriet is collecting riddles for a little book, and we knew you would come up with something cunning.Mr. Elton: No, no, no. I'm not nearly clever enough.Knightley: Emma, you didn't ask me to contribute a riddle.Emma: Your entire personality is a riddle, Mr. Knightley. I thought you overqualified.Mr. Elton: [Chuckling]

格温妮斯·帕特洛的艾玛，美得让人移不开眼，但她的美是带刺的。豆瓣7.5分？我觉得低了——这版《艾玛》明明把简·奥斯汀的俏皮和英式冷幽默玩得飞起。格温妮斯当年才24岁，第一次演英国人，紧张到苦练口音才敢开拍（事实点2）。结果呢？她把艾玛那股“我什么都知道”的傲娇劲儿演活了——撮合别人时眉飞色舞，自己被打脸时又委屈巴巴，活像我们身边那个爱管闲事的朋友。摄影把英国乡绅生活的田园韵味拍得跟油画一样：草坪、舞裙、马车，每一个镜头都是视觉冰淇淋（事实点3：资料中“摄影雅致优美”）。有人嫌节奏慢，说戏剧冲突不够强烈。但你要知道，奥斯汀的小说本身就是靠日常对话和微妙眼神推进感情的。艾玛对奈特利先生从嫌弃到依赖，那场暴风雨中奈特利突然表白，艾玛懵掉的表情——我反复看了三遍！这种克制而温润的爱，比现在那些狗血剧高级一百倍。总之，如果你只想看一部赏心悦目、笑中带甜的古典爱情片，这版《艾玛》绝对比1995年BBC版更轻松亲切。别管什么“人性深度”了，跟着艾玛一起犯傻、成长、最后收获真爱，不香吗？