打开心世界

自用，全剧台词搬运。

来源：https://subslikescript.com/movie/The_World_to_Come-9738716 Tuesday,January 1st, 1856.Fair and very cold.This morning,ice in our bedroomfor the first time all winter.The water frozeon the potatoesas soon as they were washed.With little pride,and less hope,we begin the new year.On the porchafter sunup,I could hear the low chirpingof sparrowsin the hedgerows that arenow buried in the snow.Dyer has maintainedthat with good health,and a level head,there is alwaysan excellent chancefor a farmer willing to work.He feels he can never fullyrid himself of his burdens.And I'm certain that becausehis mind is in such a bad state,it affects his whole system.He told methis morningthat contentment was likea friend he never gets to see.You're late with the milking.She wasn't suffering.And you?Since our acquisitionof this farm,my husband had kept a ledgerto help him see the year whole.This way he knows what each cropand field paysfrom year to year.And Dyer has asked meto keep a diary of mattersthat might otherwisego overlooked...From tools lent outto bills outstanding.That I have done.But there would be no recordin these dull and simple pagesof the most passionatecircumstancesof our seasons past.No record of our emotionsor fears.Our greatest joys.Our most piercing sorrows.With our child,it was as if I'd foundmy bearings.But I too rarely told herthat she was our treasure.Would you like to try?Like this, papa?That's it.She often seemedseparate from us,as if she was working atjust fitting in where she could.They saw his brothersand sistersand they werethe mouse's family...There is somethingso affectingabout mute and motionless griefand illnessin a child so young.She put her arms around meand said nothing else.But it felt likewe were speaking.I have becomemy grief.I have become my grief."Welcome sweetday of rest",says the hymn.And Sunday is most welcomefor its few hours of quiet ease.As for me.I no longer attend.After the calamityof Nellie's loss,what calm I enjoydoes not derive from the notionof a better world to come.I want to purchase an atlas.- It could be a bother.- No, no. No bother.Who is that?His name is Finney.- His wife Tallie.- Hyah!I met themat the feed store.They seem to keep to themselves.They're renting the Zebrun farm.Monday, February 4th.Why is ink like fire?Because it is a good servant,and a hard master.Did you say something?I want to purchase an atlas.I suppose there are morefrivolous purchasesone could make.I've saved 90 cents of my own.I can't imagine a better wayto spend it.Could buy your husband a gift.What better giftcould I give himthan a wifewho is no longer a dullard?My self-educationseems the only wayto keep my unhappinessfrom overwhelming me.Good afternoon.I've been using a broomon my porch.The snow is so dry.I'm Tallie.Abigail.I hope I'm not intruding.No.I just, I needed to get awayfor the day.The farm is a slaughterhouseright now.My husband is killing his hogs.Would you like to come in?Yes, I'd love that.Or we could just stayout on the porch, shivering.I know it's the dullestof all thingsto have an ignorant neighborcome byand spoil a Sunday afternoon.Oh, no,you're the most welcome here.But I know the feeling.Sometimes, I imagine duringthe Widow Weldon's visitsthat I've been plunged up tomy eyes in a vat of the prosaic.Oh, Widow Weldon!She got going on the countylevy once...She sawI had noticed her hair,and admitted she had been vainabout it as a girl.She said that back then,she'd worn it longerand plaited in a bunat the back of her head.In the winter sunthrough the window,her skin had an underflushof rose and violetwhich so disconcerted methat I had to look away.As always,when it came to speakingand attempting to engageanother's affections,circumstances doomed meto striving and anxiety.From my earliest youth,I was like a pot-bound root,all curled in upon itself.I hope I'm not keeping youfrom something.No.I'm glad you've come.Finney saw your husbandat the cooperage.He mentioned his new methodfor farrowing his piglets.With some asperity?My husband mentions everythingwith some asperity.I told him that once,and...he observed in response thatit seemed to be quite a favorto get a kind word from me.And I told him that if hewas married to himself,he'd soon find outwhat a favor it was.My mother always saidthat having childrenwould resolve that dilemma.My mother made the same claim.And yet...Here we are...Both childless.My daughter, Nellie,would have been five today.Oh.How did she pass?Diphtheria.Last September.I'm so sorry.- Hello.- Oh.Good afternoon.I'm Dyer.Tallie.Oh, it's late, isn't it?I should be getting on.Don't go on my account.Oh, no.That's a nice wrap you have.Thank you.I never receive complimentsfor my clothes.I'm so glad you've come.Meeting you has made my day.It has?Well...How pleasant and uncommonit is to make someone's day.Thursday, February 14th.Dyer's third nightwith the fever.Drink this.I plan on getting sickmore often.My wife smiles at me.Promise me you're not gonna die.That would be the oppositeof my intention.I've restoredhim somewhatwith an enema of molasses,warm water and lard.Also a drop of turpentinenext to his nose.I spent the day reconsideringmy conversation with Tallie.We compared childhood beds...Mine in which the strawwas always breaking upand thinning out.And hers, which was as hard,she claimed,as the Pharaoh's heart.I should betaking care of you.I agree.Her manner is sweetand calm and gracious.And yet her spiritsseem to quickenat the prospect offurther conversation with me.I find that everythingI wish to tell herloses its eloquencein her presence.So how did you cometo meet Dyer?He was the oldest sonof a neighbor.He helped outon my father's farm.And was he instantly smittenby you?He was, wasn't he?He was instantly smitten by you.He admired what he viewedas my practical good sense.You don't countenance wordslike "smitten", do you?I suspect I useall the same words you do.I suspect you don't.In speech,yes, because you're shy.But I bet you're moreaccomplished in your writing.Thank you.Your good sense, that's allyour husband was smitten with?And my efficient habits.That's all?My handy ways.Dyer likes mechanical things.I have no doubt he would'vebeen happierhad he been allowed to pursuethe natural scientific bentof his mind.Circumstances forced himinto farming.And despite all of that,his heart compelled him to you?Well...You would have to ask himabout that.And what would you sayif I asked you?I suppose that as a suitor,he was...not generous, but he was just.And that he was affectionate,if not constant.I wasn't sureof his suitability.But my family felt that moreimprovingmight be in the offing.After all, it is a long lanethat has no turning.You both have muchto be thankful for.We do.It's still too soon.Sorry.Tuesday, February 19th.My reluctance seemsto have become his shame.His nighttime pleasures,which were never numerous,have curtailed even more.And I have so far refusedto engage his persistenceon the subject of another child.Evening.This is myhusband Finney.And you already know Dyer.Our paths have crossed.And this is the Abigailthat I've been mentioning.My wife talks about you asif you're all about the house,and everythingreminds her of you.Oh, well, it's all I can dobut sit cross-legged and morosewhenever she's away.- Come in.- Thank you.The rain so heavythat it broke down our mill.Did you miss me?Yes.You look different.No...Finney seems agreeable.Yes, he is,when he chooses to be.I guess I'msupposed to offer a toast.But when it comesto the social graces,I'm about as smooth as comingdown a rocky hill in the dark.What my husband meansis he's so happyto finally get together,and to see Dyer again.Cheers.Part of what I valueabout my wifeis how she taught me toassociate with my fellow beings.Finney, that's a handsomeneck tie you've chosen.Thank you.But with my neck,my head sticks out like achicken in a poultry wagon.Your tart waswonderfully savory.Oh, did you like it?I'm so glad.I was worried I wouldn'thave enough eggs- because we had an accident.- Oh.My hired hand pulled down abox of eggs and broke two dozen.I announced that he wasunlucky to eggsand no longer allowedto approach them."Unlucky to eggs."I like that.I told him that his shirthad so many holes,he can make a necklace of it.Well, we often wishwe could afford a hired hand.We've suffered a great deal fromthe carelessness of hired hands.Mr. Holt's hired hand is saidto have swum his horseover the canal despite the cold.Really?Yes.Winter's been so hard,sometimes Mrs. Weldon's sonhas had to deliver the mailon skis.Now our letters can get lostat breakneck speed.Did you write letters to Talliewhen you were courting?I did.And did Tallie keep them?Only Tallie knows for sure.Monday, February 25th.Finney and Tallie's bondconfounds me.At times, when their eyes meet,they seem yoked in oppositionto one another,while at other times,there seems a shared regard.There is something going onbetween usthat I cannot unravel.Hold this here.Okay.Thank you.Hello, Dyer.Well, hello.You're off?Yes, to town.Have a good day.She'll be pleased to see you.Happy birthday!Brought you some things.Hand-knitted?I hoped you'd like them.I do.An Atlas!The United States of America.Oh and a little pot ofapple sauce with an egg on top.My feet are freezing.Oh, let me warm them.How's Finney?He's Finney.Ah, it tickles.My husband recordstrespassers in his journals.And this morning,when I asked himwhat he intends to doabout them,his response was so unpleasantthat I...resolved to visit you...so that there would be somethingin my dayother than his meanness.Dyer thinks he hasmany estimable qualities.He does.And he also uses a ledger tokeep accounting of whom I visitand how long I stay.Why?I have no idea.As he's gotten more like this,I've given up tryingto figure outall the peculiarities of his...odd little world.I suppose he's especiallyunhappy with me since...I'm yet to give him a child.What does it feel like?Like nothing at first.But then when she beganto stir...it's like butterfliesflapping their wings.Later, like a rabbit...when she kicked her legsat night.It frightens me.The thought of havingnone of that.And of giving birth.Most of us feel that way.But...when the time comes,I will be there...to guide you through it.Dyer must want another child.I understand.Birthday gifts.A box of raisins.That needle caseyou've been needing.And a tin of sardines.You spoil me.Oh, you got giftsfrom your new friend.She left hours ago.I just saw her leave.The great storm beganwith a faint groaningin the northeast.It was like a noiseof a locomotive.Help!Come closer, girl.It's warmer over here.I'm sorry, I'll be going.You should wait it out.Come on, mare.Dyer!Dyer!Dyer!How long would it bebefore I receive word of Tallie?How long could I wait?How long will the feedin the barn last?Each cow eats 26 poundsof forage every day.You should know that.They start to skinny downafter three days.Heard the newspaper predictsthe storm'll let up by then.But that's probably based onan expert's consultationof a goose bone."In a real crisis of nature,we're all at another's mercy."Yes.My mother liked to say,"We tumble from onemortification to another."When I was seven, an earthquakeknocked down our house and barn.Did I tell you?Never.- An earthquake?- Yes.I remember something woke mebefore dawn.I don't know what.My father was calling out.But I couldn't tear myselfaway from the window.I saw birds flutteringin the air, afraid to set down.The river was roiling,and I couldn't move.And then...Finally, I jumped downto our collapsed stairwell,as all my brothershad done before me.And we all huddled togetherin the dark on the porch.Later, my mother saidthat the dread never fullywent away after that.She said, "What was safe ifthe solid earth could do that?"Mother.Tallie! You're frozen!Tallie! Stay awake!Stay awake!Open your eyes! Open your eyes!Keep your eyes open!Keep your eyes open!Look at me.I would die without you.Then you're safe.Because I am here.Monday, March 17th.Half the chickens are lost.I dug ice and snowfrom their dead open mouthsin an attempt to revive them.Hobnails...For better traction.The Widow Weldon'sson, on his rounds,reported that Talliehad gotten home safely,with, he thought,only a bit of frostbite.We haven't seen your frienddown the lane for a while.Finney took her to Oneonta.So everything is tediousand lonesome?Thursday, April 10th.Biscuits and dried mackerelfor breakfast.Dyer has augmentedthe padding in the cattle penswith his hoardingsof maple leaves and old straw.It always seemsthat Tallie will never appear.But I remind myself that timeand the needle wearthrough the longest morning.And I have notedthat when she does arrive,my heart is like a leafborne over a rockby rapidly moving water.Hello. Oh!Oh! Careful.Stay. Sit, sit.Saturday, April 12th.- I spent the last two days...- Very damp, cloudy and cool.Smoky.Perhaps the forestis somewhere on fire.Your nose is being gracious.Monday, April 14th.A terribly bad spring so far,but the cloverhas come up through it,and is all right.And how's Finney?The soul of patience.He's mentioning again the ideaof migrating west.You're planning on moving west?Perhaps.I had an uncle who moved to Ohioand came to a desperate end.Which is what onemight expect from Ohio.- Tomorrow?- Hm.Thursday, April 17th.Rain in torrentsnearly all night.The lane is floodedand the ditches brim full.This morning,only a slight shower.Tallie came laterthan her usual time today.She offered no explanation.I'm sorry that your childhoodwas anything less than joyous.Joyous it was not.But I made my own happinesses.My husband says, "Godputs heavy stones in your path,it's up to usto step over them."Stones are whatthe fortunate receive.My mother's mother was bornin 1780right here in Schoharie County.I often wonder at the courageand the resourcefulnessof those women.Imagine faring forthinto a wilderness,hoping to build the foundationsof a home.Maybe they had a certain highhopefulness that we don't have.When can you come?Tuesday.- Hello, Tallie!- Good day.Was your afternoon gladsome?Yes, it was, very.- Goodbye.- Goodbye.I felt,looking at her expression,as if she werein full sail on a flood tide,while I bobbedalong down backwards.And yet,I never say on her countenancethe indifferenceof fortunatetowards the less fortunate.Good day.Good day.Are you sick, too?Not at all.I was hoping to compare colds.I'll make you tea and honey?What?Every morning I wake upand I think that I neverwant to be far from you.And under your influence,since you're so good with words,I've composed a poem.It's entitled..."Oh, Sick and Miserable Heart,Be Still."When I was a little girl,I thought I could cultivatemy intellectand do something for the world.But my life has surprised meby being far more ordinary.You're talking about that momentthat I have dreamed about,when we're carried in triumphfor having done somethingwonderful or received at homewith tears and shouts of joy.Do you know what I wonder?Is it possible...that such a moment hasn'tyet come for either of us?I think it has.Or that it could.You do.So what do you think?What do you think about us?I don't know howto put it into words.Well, try.- I have tried.- Well, try again.What do you imagine?I imagine that I lovehow our encircling feelingsleave nothing out...for us to want or seek.I've presumed too much.It's been my experiencethat it's not always thosewho show the leastwho actually feel the least.Just my dog's toenailson the wood.Why didn't you dowhat you attempted to do?I worry you'll catch my cold.You smell like a biscuit.I have to go home.Astonishment and joy.Astonishment and joy.Astonishment and joy.You haven't accomplishedany of your responsibilities.- Do you need assistance?- No, I don't think so.So it's a cold platefor supper tonight?I'll milk the cows.Friday, May 30th.The sunshine streamingthrough the branchesmakes a tremendous farragoof light and shade.We hold our friendshipbetween us and study it,as if it were the incompletemap of our escape.When the day is done,my mind turns to her,and I think,with a special heat,"Why are we to be separated?"Your smile stopped.Is it meant for someone else?Sorry, my mind was elsewhere.We need calico and buttonsand shoe thread.Am I troubling you,sitting here with you like this?Not at all.I may be late coming to it,but I've learnedconsideration of others.I've learned the needfor human sympathyand the unfulfilled want of it.I feel I've provided youwith sympathy.I suppose that's so.The smile returns.Good day.Oh.I believe that intimacyincreases goodwill.And if that's the case,then every minutewe spend togetherwill make usmore cheerful workers.Won't our farms benefitfrom that?Won't our husbands?All our burdenswill be lightened.When she left,I was like a skiff at seawith neither hand nor helmto guide it.They're cleaning out the drainunder the street along the fork.And several peopleare down with fever.Holt came by to hang the bacon.He still hasn't recovered frombeing beaten by two strangers.He had to be hauled to his homein his cart.He said the men who did itwere gonna kill him,and then realized they weremistaken as to who he was.Lately, it seems likeall you talk aboutare highwaymenand house breakers.On the contrary,I often deferto your sensitivities.And I haven't eventold you aboutall the reportsin the county of menwho've poisonedand killed their wivesbecause I haven't found ita fitting subject for supper."Killed their wives,"he used those words?Mm-hm. those words.Have you had any disagreements?Yes, about my wifely duties.I told him that I was opposedto it, that I was not willing.And he accepted that?Well, he hasn'ttouched me since, so...But I made myselffeel better...by composing a poem.Can I readyou the opening stanza?You can read me the entire poem.No, I'll start withthe opening stanza."I love flowering gardens.I love creeping plants.I love walking in the air,but I fear swarming ants."I don't think I cansupport the rhyme.You see why I didn'tread the whole thing?I'm sorry.I've always been contraryand maladroit.Earlier, I... I felt that...whenever I would draw closeto you, you would retreat,and that, if I kept still,you would returnbut you'd stay at a distance,like those sparrowsthat stay in the farmyardand won't come into the house.- That's not how I feel.- How do you feel, then?When I was in school,the teacher had meread "Cordelia"to an older boy's "King Lear."Near the end of the play,the king and his daughterare imprisoned,but he views itin a positive way."Come, let's away to prison,"he says."We two alone shall singlike birds in a cage."Imprisoned...In a positive way?Well, maybe that one has to readthe entire play.It may be only in playswhere peopleare imprisonedin a positive way.You don't think there's a cagethat could work to our benefit?I just...I only know that...I've never liked cages.I hope you had a good afternoonin Shangri-La or Timbuktu,wherever it is you've been.I had a busy afternoon, yes.I would think.Five hours you've been gone.I went to the drapers.I couldn't find anythingI liked.Then I stopped by the tinkerfor a sack of coffee,but he's now asking 60 cents,and I only had 50.Then I thought I would buy youa treat of some kind,but Mr. Arnolds reminded methat I still owedfor my last transactions so...I was forcedto close up my purse.Tell me everythingabout your day.Don't hold anything back.You're not interested inhow your wife spends her time.I don't feel I have a wife.I feel I have a selfish whorewho...who'd rather wander offto another man's housethan contribute any labor.Well, Dyer was offin the fields,and her houseis on the way back home, so...So it's just Abigail and youtittering and gossipingaway the hours?Enjoying each other's company.I have certain expectations,and you have certain duties.We've talked all night and dayabout your expectations.I will not stay with a womanif it continually requirescontention.Well, then you shouldn't staywith me, should you?Don't ask for morethan you can handle.Sunday, June 8th.All afternoon, a hawk has beenusing a single cloud above usas its own parasol.To ward off others of its kind.Our whole house nowseems both angry and repentant.God help us.When three days went bywithout a word from her,I stole over to her houseto look on herfrom what I imagined to bea vantage pointof perfect safety.By turning the lens piece,I could draw her face nearer,and hold it thereuntil she turned away.Her image provokeda sensation in melike the violencethat sends a floating branchfar out overa waterfall's precipicebefore it plummets."For the wife does not havethe authority over her own body,but the husband does.Do not deprive one another,so that Satan may not tempt youbecause of your lackof self-control."Ephesians 5:33. "Submit to yourown husbands, as to the Lord..."Monday, June 9th.Merciful father...Turn the channel of events.Wednesday, June 11th.Dyer has been silent all day,and I was happy to be leftin my solitude.Hello!Tallie...We haven't seen you for days.Have you been ill?- Nothing serious, I hope.- Ho!She's been under the weather.- Good afternoon.- Good afternoon.We want to invite you to dinneragain this Saturday next.But it's our turn.We should be feasting you.In the meantime,please be our guests.We'd love to.Six?- Six it is.- Hup!My mother once told mein a furywhen I was a little girlthat my fatherasked nothing of herexcept thatshe work in the garden,harvest the produce,preserve the fruit,tend the poultry,milk the cows,manage the household duties,and help out in the fieldswhen needed.She said she appearedin his ledgeronly when she purchased a dress.Am I anywhere in there?I'm recording spring expenses.And how havethings changed?Daughters are married offso youngthat everywhere you looka slender and unwilling girlis being forced to stema sea of tribulationsbefore she is even full-grownin height.That's its purpose!Come on. Come on.Morning.Morning, Jim.Morning, ma'am.I've got a new book for you.Do you know,I'd actually like to seethat blue dress you have there.All right, lady.Over here!It's two and a half.I'll take it.My change?Thank you.The Mannings' oldestdaughter tipped over an oil lampand it set the house ablaze.- Fire!- Ho! Ho!- Fire!- Before she was drivenfrom the house by the flames,she heard calls from her sister,who was trappedin the upper loft.Get her out of there.Cassie!Get her out!Get her out!Your wife is to be commendedon her hospitality and cooking.I can recall the day...No, thank you....when every family was fed,clothed, shot, sheltered,and warmed from the productsa good wifegathered withinher own fence line.I heard down by the loggersthat Mrs. Mannings' oldestgot fiercely burnedin the house fire.- Cassie.- And died.Yes, she did.Well, as my father used to say,"The supreme disposerof all eventsdoes sometimes disappointour earthly hopes."What a marvelous hanging lamp.Finney purchased it sothat everyone could readwith equal ease around the room.I wasn't brought up to readover much,but I do believe a fathershould give his childrenevery chance to improve.Children being a sore pointin this household.And yours, I'd expect.You'll have to forgivemy husband.Even so,whatever misfortunesarrive at my doorstep,I seek to improve my lotwith my own industry.I...I study my options closely,and just attend to everythingwith more vehemence.Well, then you should becommended for that.I'll give you an example.When I first began farming,I was so vexedat my own inabilityto stop my dogs barkingthat one January,during a storm,I held the dog aroundthe corner of the barn in a galeuntil it froze to death.I nearly froze to death myself,at least froze my hands,even with my heavy work gloves.That is reprehensible.Did I see outsidethat you use an old shovel plow?Well, since you're interestedin my machinery,I have a hinged harrowthat's been giving me trouble.The spikes catch the rocksand roots, and they break off.Well, our harrowhas upright discs.Work better?Yeah, it seems to.Bring the desserts.I think we're stuffed.My husband insistson his pastriesand preserved fruits and creams.Well, good.What is happening?Are you in danger?What happened to your neck?No, I just took a fallover a fence.I hadn't heard.There are many things aboutwhich you haven't heard.Back at the table,Tallie kept strict custodyof her eyes.Her husband's moodseemed to have darkened.He served the pastriesand creams himself,leaving only her plate empty.Saturday, June 21st.My heart a maelstrom.My head a bedlam.A whole weekand no visit from Tallie.No word.My anxieties often force meto stop my workand pace the houselike an inmate.I have to see her.Ho, ho!Tallie! Tallie!What has happened?They're gone.And no goodbye?We need to call the sheriff.And report what exactly?That our neighbors moved?It's the Zebrun farm.They were renting.I'll go then.For what reason?There's blood!And you never had an accident?So we'll just do nothing?I'll make the roundsof the neighbors.And if we are not satisfied,we can take your fearsto the sheriff.Thank you.Monday, June 23rd.Dyer said Mrs. Nottowayrecalled spotting their caravanon the country road in thelate evening, heading northwest.Mrs. Nottoway?She believed she spiedTallie's figurealongside her husband'sbut was unsure.A hired hand, she thought,was driving the second wagon.Sunday, June 29thI spotted the sheriffon his way to church.I conveyed my accusations,to no response.Dyer said that no one wouldinvestigate a crimewithout evidence that a crimehad been committed.Calm myself?I refused to calm myself,so he tied me to a chairand administered laudanum.Monday, June 30th.Bleary and short of breathfrom the laudanum...I wake weeping,retire weeping,stand before my duties weeping.Sunday, July 6th.I am a library without books,a sea of fear,agitation and want.Dyer speaks of how much wehave for which to be grateful.I sit violently consciousof the ticking clockwhile he weepsat what he imaginesto be his own poor,forgotten self.Wednesday, July 9th.Despite some hourswithout the laudanum,I was so befoggedand wild with griefthat Dyer left mefor the afternoon,unsettled and wary of my state.Tuesday, July 22nd.- Weldon?- Good day.The renters at Zebrun's farmare gone.Did they leavea forwarding address?No. You've got a letter.Hyah.Is it from her?It is.- Oh.- Origin?Onondaga County. Do you know it?It's north of Syracuse.Are you gonna read it?To myself.Abigail, Abigail, Abigail.I'm sorry that all I haveto send you is this letter,and I'm sorry for allthat a letter cannot be.Even the best letteris just a little bit of someone.I'm sorry I never gotto say goodbye,and I'm sorry that we seemto have tradedone sort of misery for another.It turns out that houses deepin the backwoodsalways seem to be awful andunnatural in their loneliness.If there were onlya ruined abbeyaround here with bats in it,the view would be perfect.Our roof is ramshackle and shedswater nicely in dry weatherbut we have to spread milk pansaround the floor when it rains.Still, outside the kitchen,there are already anemonesand heart's-ease,and even prettier flowerswhich my stupiditykeeps me from naming for you.I believe I've enjoyed myselfless these last few weeksthan any other femalewho ever lived.During what little timeI have to myself,Finney reads aloudinstructions for wivesfrom the Old Testament.But when it comes to the Bible,I have to say thatthere are a lot of passageshe may know word for word,but which haven't touchedhis heart.I can't account for his stateof mind except to saythat my company must beintensely disagreeable to him.And if that's the case,I'm sorry for it.Ho...Good afternoon!Afternoon.Whoa.Hey.I've got something for you.There you go.Thank you.Good day.Hyah. Come on.- Is it for me?- From Schoharie County.- Your Abigail.- Give that to me.Give it. Finney, give...Finney!"What's to becomeof the thousands of our sexscattered out in the wildernessand obligedto tax our strengths?I feel as if,at that selfsame hourwhen our prospectswere brightest,that in the dim distancea black shadow approached.And yet still,imagine the happiest of unionsfor us of the sortin which two families previouslyat daggers drawnare miraculously broughttogether on love's account.It is your faceI bear through the night.It is to you I devotea dreaming spacebefore I turn myself to sleep,but there is no sleep.It's as if within me everythingclamors for air,and I thinkif it's like this now,what will it be like later?I send you what loveand support I can.I send you all my heart's hopes.Abigail."Please knowthat force alonecouldn't have gotten me hereto a place like this.I was told I had to actin support of interest,happiness and the reputationof someone I once loved.As far as I can figure,we're now still only about85 miles apart.But of course,people like usdon't go on long visits.Dyer refused firstto permit my departure,and then to accompany me,and only caught up to the cartat the end of our propertyand climbed aboard.We were the very pictureof anguish,rattling along side by side.The night was fair and warm withthe appearance of a coming rain.A shower.It's so hardto write abouthow much I want to thank you,but I have to start somewhere.Abigail...I want to tell you that beingwith you, even alone,has been like being a partof the biggestand most spacious communityI could ever imagine.I feel closer to youthan I would a sister sinceeverything amazing that I feel,I chose to feel.And do you know what memoryit is that I most cherish?It's of you turning to mewith that smile you gave meonce you realizedthat you were loved.I have no way of knowingwhat is to come,but I do knowthat all of the trustand care and courage we shared,that will all shine on usand protect us.You are my city of joy.You are my city of joy.Whoa.Might I askyour business?We've come to see Tallie.Where is she?I heard you on the road.You made such a racket.I took you for the tin knocker.We've ridden for three days.We are not leavingwithout seeing her.I'm not concerned with what youwill or will not leave without.Keep a civil tongue,friend.Where is she?I treated her with tea of sootand pine-tree rootto good effect,but sickness always testsour willingnessto bow beforethe greatest authority.My guess isthat it was diphtheria.No!There is somealienation from marital...What time is it?I don't care.- I have to go.- You're gonna make a mark.Come on.Come on.Come on.Sunday, August 31st.Weather very hot and sunny.I cleaned out the shedwhich was full of rustyand dusty rubbish,washed the windows,and preserved applesfor the winter.Fourteen dollars from the saleof our milk and butter.I have cut my handwith a paring knife.I console myselfwith the convictionthat someday in the futurewhen Dyeris forced to travel to Syracusefor feed or supplies,I will join him,and take his rifleand go to Skaneatelesand kill Finney where he sits.Dyer has been at workon the barn.Each day,we enact our separation.Sometimes after it gets dark,we walk over the hillsacross our upper fieldsfor the wide, wide view.And Dyer tries to imagine usas we were,while I try to imagine Tallieand that cordialand accepting homethat existed solelyin our dreams.I imagine Tallie and Nelliesomewhere together,and Nellie running her brushthrough Tallie's hair.I imagine banishing foreverthose sentiments of my ownthat she chastened and refined.I imagine resolving to dowhat I can for Dyer.And I imagine continuingto write in this ledger,here,as though this was my life.As though my lifewas not elsewhere.I've always fearedthat I would bring misfortuneto those I loved.Are you really saying nothingto that?I don't know where to start.I can't imagine what morewe could do for one another...with our constraints.You can't?I can't.You can't?Well, then...It's a good thing we rememberthat our imaginationscan always be cultivated.

香格里拉，廷巴克图，异域的发音勾勒出超越任何习得经验的他者的地界。

加德满都，乌兰巴托，语言的陌生和距离的广远构建现实中不存在却在想象中滋长萌芽的永恒乐土，那些属于东方的意象，漫溢到美国地图遥似天边的边界之外，已是一个受教育程度不高的美国农夫语言的想象力所能探触到的世界尽头。

当Finney倾注满怀的恶意，以他所知的虚构东方来讥诮Taille潜在的外遇时，他只是想一贯地通过言语与肉体的暴力来折磨并驯服他的所有物，他的雌兽，他圈养的妻子。

事实上他不幸言中了，但他自己永无可能察觉到充当皮鞭的反问中暗含的真相：他的女人的确肆意漫游在远方的世界流连忘返，而那个天国般的新世界比西方人臆想中投射女性特质的东方更为遥远。

这个世界没有男人能涉足，像他这样想象力早被扼杀的男人更永远无从窥得通往此处的门径。

这是只属于你和我，在我们身前无名无姓的流浪逃亡的祖母们，和在我们消逝之后仍存有勇气与希望去建造方舟追逐太阳的女儿们，只在想象中存在的女人的新世界。

在你到来之前，文字构筑了我的世界。

整部影像的基调与底色都是Abigail流淌的旁白叙述。

散文诗般的日记体将属于个人私密的口述史在克制却哀婉的语调下奔涌成史诗。

短暂的不到一年的光阴，等不及酷寒的冬季在轮回中沉默地登门拜访，你却已经不辞而别，每一次我试图把融进夕阳光晕的背影在记忆中用文字风干成标本，风中鼓动的裙裾却如同海上风帆预示了命运悲剧性的航向。

从冬到秋，封冻、升温、炽烈、死寂，自然的景观与心境的变迁无痕地实现了异轨同操的表达，非语言的氛围情景承托了单一文本的筑基，让回溯文字而得以复现的影像能再一次被赋予生者的温度。

作为庸碌农妇的Abigail在望不到尽头的苦难中日复一日消磨着本就所剩无几的灵魂。

希望渺远，永无满足的莽荒之境中连温饱的最低生存需求都难以为继，更遑论精神、梦想与爱，一切情感的波动与心绪的震荡都要让位于活着的苦役。

麻木黯淡之下她却藏着耀眼的珍宝——文字是她的巫术，在这个宣称上帝治下的男性世界她唯一能为自己所有的权力，手握的利刃——文学的天赋令她在茫茫的模糊女性群像中拥有隐秘的特权，以书写来催眠悲痛的浪潮，以文字的感知来尝试深渊中的自救。

言说的权力一砖一瓦建造起属于她自己的精神游憩之所，在那里万物栩栩可爱，在那里她还能切身感到灵魂尚未消亡于心死的可能性。

静谧而广漠的文字世界中又充满了不可琢磨的虚伪性。

情绪的片段一经大脑过度便失真，一旦涉及语言的再度组织便染上了无可抗拒的矫饰性，连带着不能被文字束缚概括的想象都必须削足适履，裁剪后嵌入语言的边框。

等到落笔时分，日记早已酝酿成一坛自我满足的苦酒，所谓的真实性，只是我同自己撒的一个莫大的谎。

虽然文字名义上扮演着剪下的一片昨日的阴影，一面与自我对话和解的镜子，实则却是善于辞令之人用以掩饰和自洽，合理化伤痛与伪装自我的天然手段，与金属组建构成的机械装置别无二致。

Abigail优美又精确的比喻句随着空境赐予观者极致的视听体验，然而巧言的修辞，譬喻的长句捕捉一幕幕景观赋予形状的习惯暗示出的是，对文字有意识的训练已经形成大脑想象机制的反射条件，比喻越是细腻妥帖，离心里直观的感情越遥不可及。

呼啸着喧腾着的神弃之地处处显示着文学的无用。

既连饱餐饭都成奢望，又怎敢妄议审美的价值。

不仅文学在靠天吃饭的穷山恶水是无效的，一个富有诗书的妻子对于丈夫而言与其说是添色更像是累赘：给一户穷民一只歌喉婉转的夜莺并不能使他们以存续性衡量的幸福感有任何提升，但会下蛋的肥母鸡却能给他们无与伦比的曙光。

美在贫瘠的土地上没有容身之所。

Taille的出现却令迄今为止只能附着在文学想象的美获得了托生之所还过魂来。

她是兀自燃烧而不计后果的一丛野火，恍若她不加捆缚的红发，蓬蓬然生长蔓延扩张为吞噬理性思考的海水与火焰，少女时代不加修剪的任性妄为中自有一种挑衅的姿态。

美好地过了头，又昭示着与这片男性气质土壤的格格不入。

天成的浪漫，碰上野蛮的神话是没有退路也没有出路的，只会在迎头痛击的暴力下化作一具冰冷却乖顺的尸体。

有些悲剧在序章就埋下了伏笔，然而幻梦如真，蒙住了看清蠢动威胁的慧眼，假装在幕天席地的野合中，一瞬可以抵达天长地久的时间维度。

典型的孤岛设置并没有太多可以生出新意的空间。

无非是两个外在毫无半点相似之处内心却合契无比的孤独之人在偶然的际遇中摩擦出爱的火光并彼此救赎，进而一个主动试探，一个被动畏缩，这些情爱节奏都是老生常谈的经书。

但陈词可以重弹，有限的音符也能编排出无尽乐章。

之于这个故事，它的独特性在诗性笔调建立的女性主义文学叙事。

随着日记的时间线一天天铺陈开来，叙事的张弛缓急也跟着展开。

影像化的改编看似打破了原著纯然的文学叙事而以视觉语言强行介入，事实上影片的完成度与结构都已经为文学与电影的共生语言找到了一条曲径通幽的道路。

此外，声音元素作为表演的另一重延伸又为失语的文字增添了情感的演绎。

视与听的语言共同引人迷失在文本的场域之中。

回忆中的角色一一亮相，女主角Abigail的名字揭晓却姗姗来迟，在一个羞怯的她无法拒绝的社交场合被迫吐露，似乎由她文字游走的世界里，她的出场须得由自己控制，而不是旁人一句称呼或漫不经心地介绍下就将名字代表的叙述自主性拱手让人。

而Taille,她的名字像是那位无情上帝的嘲弄，恰好与Abigail失去的女儿Nellie押韵。

命运夺走了她生命中的火光，便又送了一束更明亮更热烈的来，有时候巧合无法不使人做这种联想。

无子的隐痛顺理成章构成将两人心的距离拉近的第一条线索。

十九世纪美国东北部清教徒的观念中对妻子的位置与义务有神圣而严苛的定义，但执行的力度在远离文明中心的乡野上全看个人，也即丈夫的头脑中那颗毒瘤种得有多深。

城市文明辐射半径之外的“法外之地”，上帝是最微不足道却又最举重若轻的存在。

若上帝真有仁慈，他就不必化作不仁的天地，夺走在土地上耕种的人们生存的希望，更不必毫无缘由地熄灭一个稚嫩灵魂的生命之火。

上帝和他人间代理人的虚伪之处正在于，既呼吁人在不幸中坚信神的救世，又要在不幸降临时原谅上帝偶发的疏忽。

如此，人只能寄虚无的希望于来世。

那里或有数座庇护之城，可以大庇天下不幸之人。

但女人的落脚处又在上帝眼中的哪里呢？

《旧约》教导世人，服从你的丈夫如同侍奉你的主。

当神只为男人的意志而撰写教义，我又怎能信奉这样一位主，他的福音中不会有我的一席之地。

宗教的压迫神圣化了妇职的意义，将女性编织进层层束缚的道德与责任之下，为妻要为丈夫操持好家室，默默忍受丈夫的泄欲，成为厅堂中一件漂亮的摆设，为母要以永动的繁衍义务填满每一寸本属于自我的空间，直至任何曾有的想象与梦境都在养儿育女的连轴转中丧失意义。

即使从母亲的人生中屡次反思女性的处境，Abigail还是斩断不了父权的捆绑。

丧女之痛像一根刺反复扎疼她对自己失职的认识，隐痛又在见到母与子的场景下不断复现提醒着她育儿的责任。

对Taille而言，无子是她丈夫眼中横亘在夫妻关系里最不和谐的一桩罪，这罪只会单方面降在女性头上。

如一片寸草不生的地，一只下不了蛋的母鸡，你无用的子宫注定你不是一个完整的女人。

共享的悲痛与无能为力淹没了她们的心，然而这种情绪在与丈夫朝夕相处面面相觑的日子中是无人可诉说的，唯有关停情感的感知才能继续麻木地生活。

女性互助的价值就在炉火前的交心片刻被勾连起来。

父权制婚姻的阴影像萦绕不去的乡愁一样盘桓在她们的头上，愁云惨雾阻断了前路。

Abigail形容与丈夫的性行为是“他夜间的愉悦”，言下之意是床笫间的亲密对于她没有任何的性快感，只是被动承受着男性的性欲发泄与传宗接代的任务。

Taille拒绝丈夫性要求后受到的威胁则令人毛骨悚然。

在独属于她们两人的性爱中却让人看到寂灭的希望复生的可能性。

第一个吻，于两人都是全然陌生的经验。

在同性恋文化还没有被主流社会道德明确斥作禁忌的当时，这反而不是一种明知禁忌的反叛，而是跟从情感的召唤探索未知又神秘的域外之地。

手中只有一张残缺的地图，却要按图找到逃离的去处。

彼此试谈又退却，胆怯的心思终在一个吻中道尽了心意相通。

狂喜的感受流遍四肢百骸，超越了语言的经验，令一切字词的堆叠都黯然失色。

Astonishment and joy，复诵三次的迷狂恍若祷文给全新的神话注入了信仰的力量，同样复诵三次的"Abigail"则是无边绝望中唯一可以点亮心灵余温的咒语。

吟诵你的名字，我的生命就能透过想象延续下去。

关于两个丈夫的形象，影片难能可贵的一点是没有把对他们的塑造扁平化成标签意味的“同夫”。

在女性叙事的领域之外，虽然着墨分量不一，却各自完成了立体的描写。

穷困与悲伤给Dyer打造了一张铁铸的面具，他笨拙又不善言辞，将与妻子等量的痛苦全部埋藏在男性性别建构下的沉默强硬之中。

时间流逝，他学会共情妻子的感受并最终呈现了一段在时代局限中稍为健康的夫妻关系图景。

而Finney作为反面形象也有颇多值得玩味的细节铺设，从他对牲畜毫无怜悯的杀戮，对疑似侵入边界陌生人的仇视都可以看出他是在用暴力法则驯服自己的所有物。

讽刺的是，口中最为虔信上帝旨意之人却也是最残暴的刽子手。

只有在平等自由的性中，我才感到被爱与真实，才真正体会何谓活着。

福克纳笔下艾米丽毒死赫默的情节变身成有毒的男子气概冷血而有预告的谋杀。

“那战胜了爱情的煎熬的永恒长眠已经使他驯服了”，野性难驯的她终于臣服在毒药发作的一支舞中。

Abigail面对死去爱人的尸体以日记中性爱场面集锦式地涌现来压制死亡的具象，文字串联的回忆画面瞬间摄取了观者所有的感官，仿佛逝去的爱人可以起死回生。

而这种想象支配回忆的生命力确实能抗衡死亡，直至阴阳两隔也不可能将你带离我的身边。

美国是一个由无畏的拓荒者在马背上建立的国家。

我们的祖先向着未知的新世界索取征服与冒险，所到之处汇聚成了如今地图册上指尖触摸的一道道疆土的边界。

女人的命运也正如天父凝视下无家可归的流浪者，在拓荒中逐渐找回自我。

世上没有为女人预留的国度，女人作为天父的奴隶，世世代代奔徙流浪从未放弃过对应许之地的追寻，去梦想、去期待与用想象创造新世界，也是在完成一套独属于女性的神话与语言。

（先写到这里，未完）

制片和导演选角的本事真是高的离谱，双女主的演员真是选到了我心里，成熟，那低沉的女中音啊，魂牵梦绕。

但又没有过分成熟，《菊石》就不太喜欢，年长女性和年轻女性，像是诱拐。

凡妮莎·柯比，实在是太美，玫瑰和紫罗兰色的皮肤，上翘的浓密的睫毛……但是她只有遇到凯瑟琳·沃特斯顿这样深沉、包容、绵长的伴侣，才不会把事情搞砸。

至于结尾，电影总要有个结尾，不是她们死，就是丈夫死，总要死一头，不过看到一半的时候设想过假如两家丈夫都洞悉了，也理解了，反正女同也不会怀孕不会得病，如果她们开心了，会不会产生负疚感回头给我乖乖的生个猴子呢？

凯西·阿弗莱克这个丈夫就很好，他有句台词，七岁的时候遭遇地震，他妈妈说，生活不过是一种遗恨覆盖另一种。

有点像钱钟书的话：旧苦为乐。

凯西·阿弗莱克这个丈夫面对丧女之痛的时候就已经有了觉悟，生活不会这么轻易放过他，不顺心的事情只会一件接着一件，媳妇儿爱上别的女人也不算啥，毕竟人还在，没跑不是吗？

留的青山在不怕没柴烧，她就是冰，也得给她捂热喽。

比起阿比盖尔认同的在囚笼里唱歌，塔莉可是根本不妥协，爱了阿比盖尔，就绝对不会背叛她再与芬尼虚与委蛇，所以她死了。

成年人会倔强吗？

成年人会倔强到死吗？

开场以一张美国地图为背景引入字幕，随后是一个失焦的画面，让人误以为是干涸的大地，随着画面越来越清晰，我们才可以得知这是从树林望向的天空，密密麻麻的树枝挡住视线，预示着故事中的四个人如行尸走肉般困在这干燥、寒冷、幽静的牢笼中。

日记的形式贯穿全片，Abi的旁白声从开场便是以一种低沉、绝望的口吻进行着，配合低饱和度的画面色彩和平稳的运镜，勾勒出空旷、压抑的氛围。

经常会看到有人会问为什么女导演拍的女同片总是很压抑，这大概是因为通常我们看到的女同电影，在刻画爱情的同时，往往会以两个女性角色的爱情为线索，进一步去探讨女性的处境、以及所谓的女性身份如何左右着人们的行为，本片亦是如此。

1856年，美国国内政治形势最为严峻、南北对立矛盾最被激化的一年，故事的主人公们却像是与外界隔绝了一样，安静地生活着。

Abi的丈夫Dyer，从登场就是一副萎靡不振的样子，也许是因为无法追求科学家的梦想，也许是因为被迫务农，总之他的人生似乎没有一丁点希望，从Abi的日记中我们也可以得知，Dyer似乎被困于某种欲求不满，而他自己也深知，这种欲望可能永远也不会被填满。

他有记日记的习惯，却只会记录农场的收支，对于自我和情绪、以及他们夫妻重要的事，却从来都没有记录，他们被他人忽略，也被自己忽略，似乎只要不把它写出来，那些自身的感受、经历就从来不曾存在，包括他们夭折的女儿。

自从女儿离世，Abi便不再相信上帝、不再对生活抱有任何希望，直到遇见Tallie。

导演用三组对视镜头拼接起她们的初遇见，她们隔着人群，就那样一眼望见了彼此，如果不是一见钟情，可能也是某种惺惺相惜。

她们的爱情发展迅速，可见导演的侧重点也许不全在两人如何发展这段关系上，也通过这两个女主角延伸出了两对夫妻关系。

Abi的丈夫Dyer总是希望能够靠近妻子，却苦于不善表达，两人渐行渐远。

Tallie与丈夫Finney的关系则古怪一些，他们总是用言语挑衅彼此，但又总是透露出一种无形的默契。

两对夫妻，都有感情和陪伴，但谁也说不清，他们之间有没有爱。

正如Abi描述Dyer【不知道对不对，只知道合适】，又如Tallie为Abi写的那首小诗，亲吻过后，Abi才意识到，那是令人惊喜和喜悦的爱情。

这里有一个有趣的设定，片中的男性角色似乎都有记日记的习惯，Dyer记录农场收支和无关情感的琐事，Finney则会记录Tallie每次出门见谁去多久，似乎男人们总是希望通过记录的方式来让这个世界看起来有序、或者说是可以掌控，但现实是，除了自己的笔记本，他们什么也掌控不了。

在发现妻子的出轨后，Finney突然举家搬迁，试图用物理距离来中断Tallie与Abi的爱情。

但相爱的人总是有办法找到彼此，不久后Tallie与Abi开始用书信往来，恼羞成怒的Finney开始伤害Tallie，两人往来再次中断，当Dyer带着Abi找到他们的时候，Tallie早已死去。

而Finney似乎满足于可以一直占有Tallie的身体。

Tallie死后，煎熬的不只有Abi，还有Dyer，他清楚两人的关系，却没有愤怒，不想离开，也不想挑明，甚至不做修补。

这样男性角色的设定，也可以说是非常新鲜的，如果说导演用Finney来展现男性的暴力，那么男性的无力感在Dyer身上被展现得淋漓尽致。

最后一场屋顶戏，也是全片最重要的一场，Abi用一如既往的克制委婉的语气拒绝继续这段夫妻关系，Dyer用极近哀求的姿态试图做挽回，镜头一切一转，出现Tallie的脸，并给出让她与Abi爱情延续的方法——想象。

也许，我可以想象和你一起去旅行，即使我只有一张你送我的地图；我可以想象我们一起时的惊喜与喜悦，即使我可能再也逃不出这深山牢笼；我可以想象和你一起死去，即使你已被埋进土里；我可以想象你在这，即使你不在这...

看死君：继罗南和凯特主演的那部《菊石》后，我们终于又等到一部姬片。

“花园”第32期，要为大家推荐的便是这部由凡妮莎·柯比和凯瑟琳·沃特斯顿主演的《打开心世界》。

在去年威尼斯国际电影节上，本片突出重围荣获断背狮奖，还有人称其为“女版《断背山》”。

栏目| 花园作者|花无宴说起英国女演员凡妮莎·柯比，很多国内观众都是通过《王冠》《碟中谍6》以及《速度与激情：特别行动》认识的。

而她演技上真正的炸裂时刻，则是去年在威尼斯电影节上夺得影后的那部《女人的碎片》，后来还提名了奥斯卡影后。

凡妮莎·柯比凭借《女人的碎片》提名奥斯卡最佳女主角无独有偶，在同届威尼斯电影节上，凡妮莎·柯比还有另一部电影入围，那便是挪威导演莫娜·法斯特欧德的新作《打开心世界》。

这部成功摘得断背狮大奖的女同题材影片，让我们得以看到凡妮莎的另一面风情。

相比凡妮莎在《女人的碎片》中所展现的女性妊娠的高光时刻，以及逼近真实的窒息感与疼痛感；她在《打开心世界》中所塑造的19世纪古典少妇，同样以撩拨之态和直率性情而为影迷观众们所称道。

但《打开心世界》并不是一部让凡妮莎·柯比和凯瑟琳·沃德斯顿两位实力派女星袒胸露乳的蕾丝艳片，而是深挖美国尚处于开疆拓土时期的缝隙角落，以及两对农家夫妻的悲苦人生。

影片改编自吉姆·谢泼德的同名短篇小说，谢泼德本人也全程参与了编剧工作。

而另一位编剧朗·汉森，则是曾由布拉德·皮特主演的西部犯罪片《神枪手之死》的原著作者。

2007《神枪手之死》 作为《打开心世界》的主演之一，卡西·阿弗莱克当年正是通过《神枪手之死》和朗·汉森结识的。

当阿弗莱克向汉森询问最近有无好故事值得拍摄时，汉森便向他推荐了《打开心世界》这部小说。

这也是为什么阿弗莱克既是本片的主演，同样也担任着制片人。

为求与原著小说的风格保持一致，导演莫娜·法斯特欧德全程采用日记体叙事方式，以女主角阿比盖尔的第一人称视角，讲述了她与凡妮莎饰演的另一位妇人塔莉之间的动人故事。

1856年1月1日，跟丈夫戴尔一同生活在美国东北部偏远农场的阿比盖尔，像往常一样记录着自己孤独、无聊且阴郁的一天。

对于阿比盖尔而言，她与丈夫戴尔的生活枯燥且了无生趣。

戴尔是个为农场经营殚精竭虑的憨厚农夫，除了偶尔摆弄自己的那些机械器件，他将所有的闲暇时间都用来记账。

可阿比盖尔却是个心怀文艺幻想的敏感女人，除了对文学诗歌颇感兴趣之外，她还每天都用抒情而细腻的文字，映照着心里的每一层波澜。

原本，在幼女内莉诞生后，夫妻二人的关系暂时得以黏合，而内莉却突患白喉之症，仅不到五岁便猝然夭折。

阿比盖尔和戴尔的婚姻危机便日益加剧。

直到某一天，塔莉在教堂前出现，引起了阿比盖尔的注意，后者的人生才开始焕发新机。

面对内敛保守的阿比盖尔，塔莉显得外向活泼得多，主动在阿比盖尔门前跟她寒暄许久。

自此，两人开始了一段交心之旅。

对各自丈夫的抱怨，兴趣爱好的表露，以及彼此之间所激荡的情感，让两颗疲惫麻木的心在冬日寒风中有了难得的温暖。

在两人更进一步的深入交往中，她们开始渐生出某种异样的情愫。

最开始，阿比盖尔只是用略显暧昧的词句在日记中写下自己的心理变化；而塔莉则要直率坦诚得多，她甚至主动向阿比盖尔示爱，还给了她一个浅浅的吻。

由此，两个在家中都得不到丈夫疼爱的女人，相互温存，成为日常“偷情”的一对。

然而，塔莉的丈夫芬尼却是一个敏感且手段强硬的狠角色。

在他日渐察觉到塔莉对自己变得冷漠之后，不但对塔莉实施家暴，更是连夜驱车赶路，将塔莉带到了另一座孤独的农场。

影片最后，阿比盖尔终于勇敢地踏上寻找塔莉的旅程，却发现塔莉已在床上死去多时。

生活还得继续，而阿比盖尔却只能在塔莉还活着的幻想中，度过今后的岁月。

很多人都将本片与李安导演的《断背山》相提并论，认为两者都讲述了一对同性恋者背着各自的另一半偷情的故事。

李安《断背山》但在人物关系的设定上，两者其实还是存在着一定差别。

《断背山》中的一对牛仔，其实早在结婚之前就已经相爱，只不过彼此都以为未来不会再见面，所以才选择结婚；而《打开心世界》则有着《廊桥遗梦》似的“偷情”设计，两位女主角在婚姻关系的掩盖下偷食禁果。

所以，在阿比盖尔和塔莉的这段恋爱中，我们很明显能看出她们之间的情感区别。

阿比盖尔更为保守胆怯，她虽然早就对塔莉存有爱慕之情，却隐忍不发。

直到塔莉向她当面表白、热吻相迎后，她才以急切的回吻表达了自己更为炽热的情感。

阿比盖尔几乎不曾主动去过塔莉家中，每次两人相处时，她都警惕被别人瞧见；甚至在塔莉冒着大暴雪冻伤之时，她也不敢轻易前去看望。

说到底，阿比盖尔的确贪恋这段甜蜜之情，但是她想要的是安全范围内的偷情，而不是逾越常规的私奔。

可塔莉不同，她始终渴盼着阿比盖尔的回应和主动。

她其实始终想要打破两人的现状，寻求着厮守终生的冒险的可能。

然而，这一试探性的提议，却被阿比盖尔的惶恐所打断。

正如影片《菊石》所展现的那样，在十九世纪中期那样的时代背景之下，两个女人想要享受同性之爱，几无可能。

阿比盖尔和塔莉基于爱情的不同态度，其实和各自丈夫的性格也都有着莫大的关系。

阿比盖尔之所以会倾向偷情，正在于丈夫戴尔的“默许”。

虽然影片中并没有道明戴尔在妻子和塔莉偷情期间，是否知晓真相；可每当塔莉到家中来访，他便知趣离开，让两人私处。

仅就这一点来看，戴尔对于妻子已然非常宽容。

这主要是因为，阿比盖尔对于戴尔来说，并不只是妻子，更是安全的港湾和依靠。

我们从暴风雪这一桥段中，便能够看出端倪。

影片利用暴雪狂舞的极寒天气道明两点：1.戴尔作为男人的胆怯。

他在暴雪中修补羊圈之后，不敢冒险归家。

2. 阿比盖尔的坚韧和果敢。

她在腰间绑好麻绳，冒着危险赶到羊圈救回丈夫。

这在后来阿比盖尔照顾生病的丈夫，戴尔讲述自己儿时经历地震后的心理阴影，以及明确表示没有阿比盖尔自己活不下去等情节中，均能看出戴尔对妻子的依赖。

但塔莉的丈夫芬尼却有所不同，他是一位道貌岸然的暴戾基督徒。

表面上，他用《圣经》中有关夫妻关系及妻子义务的经文约束着塔莉；而实际上，他是个寡情薄意、以残忍手段虐杀动物，并且对妻子怀有报复之心的伪君子，毫不顾忌《圣经》中向善、宽恕的基本教义。

尽管，影片最终并没有直接表露出芬尼谋杀了塔莉的真相，但从诸多细节中，我们都能看出这位家暴者的杀妻动机。

影片中有很多细节都铺垫了这个阴影。

比如芬妮曾跟塔莉讲述郡中的杀妻案件，塔莉脖子上明显的勒痕，塔莉家中的沾血毛巾，以及塔莉在与芬尼的舞蹈中，逐渐垂臂，悄然死去。

其实，无论是戴尔的宽忍，还是芬尼的暴戾，最终指向的都是那个夫权至上的社会中男性话语体系带来的禁锢与恐怖。

这种肃杀的氛围，在影片的两处闲笔中最为让人印象深刻。

其中一处是上文提到的暴雪桥段，除了阿比盖尔和戴尔之间的营救行动，还有一段是塔莉打算在木屋避雪的场面。

此时在幽暗的木屋一隅，传来“靠近点姑娘，这里比较暖和”的声音。

当塔莉点燃火柴一看，便发现三个虎视眈眈的中年男性。

恶劣的天气，叠加男性潜在的性威胁，成为那个时代激发女性身心恐惧的标志性象征。

而另一处更为隐秘的批判性场景，是阿比盖尔归家途中，看到某户人家房屋着火，幼女在阁楼被熊熊大火困住，活活烧死。

此处，影片不但借小女孩的意外死去，再度激起阿比盖尔曾因白喉离世的女儿的心中隐痛，更预示着阿比盖尔接下来更为惨烈的痛苦：彻底失去挚爱塔莉。

这些颇具原始野蛮气息的骇人场景，在导演法斯特欧德的出色运镜下，涌现出莫名的惊悚意味与失落之感。

这不禁让人思考，在那样一个不把女性作为完整个体的残酷的时代，阿比盖尔和塔莉的同性之恋，究竟有多少是真正基于爱情，又有多少是基于无奈。

就像阿比盖尔在她如散文般的抒情语句中所说的那样，无数的女孩嫁为人妇，她们尚且不懂人生的乐趣，却得在婚姻的义务中逐渐枯萎。

当阿比盖尔将无望的眼神投向贸然闯入她生命中的塔莉，同样，当塔莉怀着希冀从阿比盖尔的细腻心灵中获得源泉、滋润生命时，她们曾感受到一种前所未有的放松和生机。

影片中，每当展现两位女主角与各自的丈夫相处时，画面上基本都是灰暗无光的室内场景。

身为女人的她们，或是得在床上为男人们孕育孩子，或是得操持繁重的家务。

镜头语言也常为门框式构图，以寓意二人的“被囚”状态。

而当阿比盖尔和塔莉单独相处时，则多为光源充足的空间，或是郊外草地，或是壁炉一侧，而两者之间的状态也大多为闲散聊天，自然又不失灵动。

由此，这对同性璧人的爱情，在塔莉苍白陨落之时，才显得尤为痛彻心扉。

他们之间的爱恋其实早已不仅仅是情侣关系，而更像是心灵伴侣、知己挚友，无论少了哪一个，都无异于得忍受抽筋扒皮、腌渍暴晒的痛苦。

影片《打开心世界》借用欧美近代历史的夹缝所虚拟的同性相爱故事，对男性话语体系进行消解和批驳，对女性话语权进行重构和补漏的类型已然，已然成为欧美文艺片的一股潮流。

瑟琳·席安玛的《燃烧女子的肖像》、弗朗西斯·李的《菊石》，既着力于表现女同之间微妙的互动关系，同时也指涉着女性在历史大潮中的孤寂、无奈与苦痛。

2020《菊石》男女之间的爱情，对女性来说其实是种话语权至上的剥削；只有女性之间的情感才能起到慰藉和疗愈的作用。

爱情，不只是荷尔蒙激发的择偶触媒，更是性别批判的有力手段。

作为一部女性导演的电影作品，影片《打开心世界》在声效和摄影上同样不落俗套。

配乐方面，请来了丹尼尔·布隆伯格这位1990年出生的年轻艺术家，全程用管乐器演奏出柔和轻缓的音乐，让主角的情绪悄然蔓延。

而暴风雪那场戏，则用无调性音乐配以嘶叫声，营造出惊悚未知的不安氛围，让人时刻为两位女主角揪心。

摄影层面，则采用16mm的胶片拍摄，使影片拥有一种古典的韵味。

相比在画面上有着同样考量的《第一头牛》，法斯特欧德明显将色彩的饱和度、对比度调得更低，极富苍凉意味。

这些都让《打开心世界》成为一部非常耐看的影片，它让我们不得不为那个年代的女性禁忌之恋而感伤，更为之而动容。

栏目| 花园；作者|花无宴公号| 看电影看到死编辑| 骑屋顶少年；转载请注明出处

说起近年来好莱坞最亮眼的女演员。

凡妮莎·柯比绝对值得起一个提名。

她是《碟中谍6》中光芒几乎盖过阿汤哥的白寡妇。

也是今年颁奖季大热作品《女人的碎片》中，经历了丧女之痛的玛莎。

从危险性感的黑市军火商，到隐忍却温柔的母亲。

凡妮莎一直在向好莱坞、向市场展现她的多面性。

而如今又有一部新作品，让我们看到了她的无限潜力——

打开心世界 (2020)8.22020 / 美国 / 剧情 爱情 同性 / 莫娜·法斯特欧德 / 凯瑟琳·沃特斯顿 凡妮莎·柯比

豆瓣8.2，近八成观众打出四星以上的高分。

这部电影不仅成功拿下了这一届威尼斯电影节的酷儿狮奖，也是金狮奖的提名者之一。

导演莫娜·法斯特欧德，你可能会对这个名字感到陌生。

但要是我说，她是《野马》的联合编剧之一，你也许就会有一点印象了。

《野马》去年大魔王凯特·布兰切特配音的那部讲述隔离生活的短片，《居家自制》，我们也能在一众编剧中看到莫娜的名字。

再来看看《打开心世界》的卡司。

刚刚提到过的凡妮莎·柯比，美艳贵气、演技傲人。

一部《王冠 第二季》，曾帮她拿下艾美奖提名。

而《女人的碎片》，又让她成为今年奥斯卡影后的有力竞争者。

另一位女主，凯瑟琳·沃特斯顿。

《神奇动物在哪里》中的蒂娜，《异形：契约》中的丹尼尔斯。

一米八的高挑身材，气场强大、走路带风，是个人特色非常鲜明的女演员。

卡西·阿弗莱克，凭借《海边的曼彻斯特》中克制却动人的表演封神。

他是小金人二次得主本·阿弗莱克的弟弟，而卡西本人也是奥斯卡影帝。

《海边的曼彻斯特》美女+影帝的配置，有颜有实力，已经很令人期待。

这部电影的故事也讲得很美。

它改编自美国作家吉姆·谢泼德在2017年发行的同名短篇小说，讲述了19世纪中期的美国，两对夫妇在困境和孤独中的挣扎。

背景设定在1856年的斯科哈里县。

农妇阿比盖尔(凯瑟琳·沃特斯顿饰)和丈夫戴尔(卡西·阿弗莱克饰)过着与世隔绝的生活。

几个月前，他们的女儿因为白喉病逝，阿比盖尔的生活也因此失去了意义。

她在日记中写道：“天气晴朗却寒冷。

今早我发现卧室里结冰了，这是这个冬天的第一次。

”“土豆刚洗好，上面的水就结成了冰。

”“没有一丝锐气，也不抱任何希望。

”“新的一年又开始了。

”

新的一年又开始了，但阿比盖尔的文字却让人看不到任何希望。

冰冷、易碎、摇摇欲坠，就像土豆上的那层冰。

她每天重复做着同样的农活，日子过得机械又乏味。

与丈夫的感情，也在失去女儿之后麻木冷却。

戴尔不懂她的魂不守舍，她也不想对他敞开心扉、坦白自己的痛苦。

这一天，县里来了一对新夫妇。

妻子塔莉(凡妮莎·柯比饰)优雅、大方，阿比盖尔立刻被她吸引了。

两个女人之间建立起一种奇妙的联系。

阿比盖尔向塔莉吐露，她与戴尔的婚姻，根本与浪漫沾不上边。

两人都只是在履行义务，好让艰难又空洞的生活看起来没那么可怕。

而塔莉跟她面临着同一种困境。

塔莉说，她的丈夫芬尼脾气不好、控制欲极强。

因为自己没给他生个孩子，所以夫妻不和。

塔莉又问起阿比盖尔，她是不是也没有孩子。

阿比盖尔低下头，第一次向人倾诉出她的痛苦。

这一场交心，让阿比盖尔感到前所未有的释放与欣慰。

她与塔莉的关系也日益亲密起来。

而塔莉的丈夫芬尼也察觉到了什么。

他不怀好意地邀请阿比盖尔夫妇上门做客，想看看妻子近日都与谁厮混在一起。

但阿比盖尔和塔莉却对他的心思一无所知。

她们缩在后厨的角落，塔莉笑嘻嘻地问阿比盖尔，有没有想她。

“当然啊。

”像是闺蜜间的撒娇，又或是借着玩笑表达出的真情。

为了庆祝阿比盖尔的生日，塔莉给她买了一本她梦寐以求的地图集。

她们坐在炉火边，又一次谈起荒唐的生活。

塔莉说，丈夫有个小本子，记录着每一个她出门会面的人。

什么人、见了多久，都记得清清楚楚。

芬尼还常对她说：“妻子对自己的身体没有掌控权，但她的丈夫有。

”阿比盖尔静静地听着。

这一天，两人聊到很晚。

当塔莉结束生日访问回家时，她卷入了一场几乎让她丧命的风暴中。

芬尼带她去疗养，阿比盖尔很是担心。

但塔莉总归是回来了，那个时候已经是春天。

一场要命的风暴，让两人终于鼓起勇气，向对方袒露自己的心声。

塔莉对阿比盖尔说，自己只想和她在一起。

她们灵魂交叠，实现对彼此的完全坦诚。

自从孩子死后，戴尔变得越来越情绪化。

当阿比盖尔和塔莉在一起的时候，戴尔会感到很不安。

芬尼在塔莉离家的时候，也会萌生嫉妒之情。

于是，他再一次请阿比盖尔和戴尔共进晚餐。

阿比盖尔却注意到塔莉脖子上有瘀伤。

塔莉告诉阿比盖尔，她不知道的还有很多。

接下来的整整一个星期，塔莉都没有再去找过阿比盖尔。

无法忍受的阿比盖尔跑到塔莉家，却发现房子里空无一人，只剩下一块血淋淋的头巾。

心急如焚的她试图向警方求救，却并未得到任何反馈。

最终，她还是收到了塔莉的一封信。

塔莉告诉她，自己和芬尼已经搬到了85英里以外的地方。

阿比盖尔坚持要去看塔莉。

戴尔再三阻拦，最后还是决定陪伴她一同前往。

然而，当他们到达时，只看到床上一具冰冷的尸体。

塔莉已经死了，芬尼声称是白喉。

但阿比盖尔却坚信，是芬尼毒死了塔莉。

阿比盖尔又回到了她的农场。

她和戴尔继续一起生活，但感情越来越疏远。

沉闷的生活，日复一日，虽然没有意义，但也并非无法忍受。

她又做回了那只笼子里的鸟。

在那个年代，女性的力量很微弱，但仍燃起了几点星火。

玛丽·沃斯通克拉夫特的一本《女权辩护》，正式打响女权主义的战争。

女权先驱用她们瘦弱的身板，对抗着父权的不公。

但那一年，又离女性意识的彻底觉醒，仍差着半个多世纪。

那一场轰轰烈烈的妇女选举权运动，还没有真正地开展起来。

整个女性群体在无尽的黑暗长夜中，半梦半醒、又义无反顾地摸索着前行。

而阿比盖尔和塔莉，也正是这半梦半醒中的一员。

可她们终究还是不同的。

阿比盖尔小时候曾演过《李尔王》中的女儿。

“来吧，我们去监狱，就像在笼子里唱歌的鸟儿。

”阿比盖尔认为，即使被囚在鸟笼里，也依旧能放声歌唱。

但塔莉不同，在笼子里，她便无法发声。

所以，她逃到了阿比盖尔这里，从由窒息的生活所编织的铁笼中脱身。

她试图逃离丈夫的控制、逃离所谓妇道的禁锢，最终成了殉道者。

紫罗兰凋零，新世界将至。

台湾作家简媜在她的代表作《四月裂帛》里写道：“深情即是一桩悲剧， 必得以死来句读。

”如果旧世界甚至容纳不下两个女人的心意相通，那么凋零，其实也是一种反抗。

*本文作者：吃吃

序号为双女主对戏的场次。

一、初见A：沉默。

（注意到T的秀发）T：谈自己头发的故事。

（展示美丽）A：很高兴你来。

T：沉默。

（我也很高兴）T：抱怨丈夫（我情感不满足）。

都没孩子。

（寻找共情点）二、拔鸡毛T：戴尔是怎么爱上你的？

（你很有魅力。

并不断用在那个年代看来很直白的词汇：smitten, compel来撩骚A）T：如何看待追求者？

（询问A的夫妻关系）T：你们都应该感激。

（我嫉妒他）三、拜访A：芬尼挺好的。

（询问关系）T：他想招人喜欢就可以。

（抱怨丈夫）A：芬尼写过情书吗？

（询问关系）T：只有塔莉知道了。

（拒绝肯定他们的关系）四、送礼A：芬尼怎么样？

（询问关系）T：就是芬尼。

（不具体回答）T：芬尼一直在说如何（用暴力）处置入侵者（抱怨丈夫），所以我来找一些不卑鄙的事（对比，我觉得你更好，我更喜欢你）。

A：戴尔说芬尼有很多优点。

（间接引语说你丈夫也没那么坏，挽回一下尴尬的场面）T：他有笔记本记我出行的情况。

（抱怨丈夫）T：他对我不满意，因为我没为他生孩子。

（可能有表明没有频繁的性生活的意思，鉴于当时的避孕技术，性和生育约等于直接挂钩。

我开始没想到，参考了网友的想法。

不同意请理性探讨。

）T：戴尔想要另一个孩子吧。

（打探性生活）A：沉默。

（我不想要，所以没有频繁的性生活）五-八闺蜜般的相处。

九、挽着走T：芬尼说幸福路上有阻碍。

（同性恋情）A：有阻碍才是幸福的那个。

（虽然我们有困难，但这也是一种幸福。

）T：也许当年他们有我们没有的希望。

（我们要有在一起的希望。

）十、表白T：病态而痛苦的心，平静下来吧。

（我苦恋着一个女人，这是病态的，放下吧。

）A：我太平凡。

T：那就要做些了不起的事，我们都还没经历过那些惊心动魄的时刻（轰轰烈烈的爱情）。

A：可以有（不同寻常的爱情）。

T：你怎么定义我们？

A: 我喜欢我们在一起的感觉，对我们而言除此之外别无所求。

我想太多了。

T：依我的经验并不是表达越少感受越少。

（你说得对。

这句话直接给了A主动亲T的勇气。

）A：你为什么不做想做的事。

（吻我）十一、亲热T：说了一堆出轨的好处。

（出轨的借口）A：（我们在一起）所有的负担都减轻了。

A平时应该是理智那一方，突然跟着T上头，所以T才那么激动。

问题是也得看看当时A在干什么的时候说的那句话，整场的台词就当音效听听得了。

BTW，戴尔应该永远见不到A这一面，心疼戴尔一秒钟。

十二、树林里A：笼中鸟（躲在柜子里）

1856年1月1日，阿比盖尔在日记里写道：“洗土豆的时候，水一碰到土豆表面就冻住了。

没有自尊可言，带着所剩无几的希望，我们开始了新的一年。

”《打开心世界》的故事，即在这样一片阴郁低沉的灰冷色调中展开。

由挪威导演莫娜·法斯特欧德执导的《打开心世界》改编自美国作家吉姆·谢泼德的同名短篇小说，讲述1850年代的纽约上州，农妇阿比盖尔与邻居妻子塔莉之间相伴相爱的故事。

改编过程中，影片极大程度地保留了原作娓娓道来的细腻文学性，以主角阿比盖尔的日记为线索串起山林间的四季变化，用墨水和眼泪，记录一段隐秘而热烈的同性之爱。

“The World to Come”的标题颇具宗教意味。

女儿因白喉去世后，哀痛的阿比盖尔和本就寡言的丈夫戴尔日益疏远。

她不再去教堂，也不再相信应许的身后世界，只能埋首于繁重的劳作中，把所有思绪和情感倾注于笔端，藏进一篇篇日记里。

新邻居芬尼和塔莉夫妇的到来，打破了阿比盖尔家冷漠而微妙的平衡。

一头红发的塔莉为画面添上第一抹暖色，阿比盖尔藏起的天赋和自我，在机敏又生动的塔莉面前无处遁形。

每段爱情故事的开端都需要合理契机，而阿比盖尔与塔莉初遇时的眼神交换，已经迸溅出一星不讲道理又合乎情理的火苗。

面对初次拜访的塔莉，阿比盖尔礼貌周到，但拉近的摄影机暴露了她的目光轨迹，借着一串毫不遮掩的特写在塔莉袖口和脸庞流连。

“她的皮肤泛着淡淡的玫瑰色和紫罗兰色”，阿比盖尔当天在日记里记下的，是我们和她同步完成的秘密观察。

从隆冬到盛夏，季节流转的隐喻贯穿全片，美丽而残酷。

随着白昼渐长，塔莉短暂的午后拜访也被拉长成恋恋不舍的逗留，以丈夫为话题展开的闲谈逐渐被智识与心灵的诗意交流取代。

身为女性的共同经验联结起两个初次体悟喜悦之情的女人，心意相通的证明从语言过渡到身体，最终把手指触碰的暧昧，升温成了水到渠成的吻。

大概所有定情之吻都动人，既有层次丰富的试探，也少不了确定自己被爱的欣喜与释然。

《打开心世界》中的这场吻戏将情感共振后的余波处理得尤其细腻，一吻过后，塔莉出门时失措得走错了方向，而阿比盖尔带着一滴愣神的泪，将蜷曲已久的身躯舒展开来。

这对角色关系的饱满完成度，很大程度上归功于两位主演贴合角色又默契自然的表演。

凡妮莎·柯比演绎的塔莉身上有一种准确的平衡感，真挚勇敢的背后，仍保有一份残酷的清醒；饰演阿比盖尔的凯瑟琳·沃特斯顿则像是整部影片的锚，用沉静的嗓音，将观众缓缓拉进满溢柔情和悲伤的溪水。

两位演员的出色表演，搭配上16mm胶片摄影机的柔美摄影和存在感极强的管乐配乐，一同把阿比盖尔与塔莉的爱情描摹成一幅笔触平缓却暗藏汹涌的古典油画。

框住两人的景框空间虽然狭窄拥挤，但曾缚于方寸之地的心，已经在“惊异与欢喜”中步入广阔新天地。

可惜，这片天地中并不只有她们两人。

卡西·阿弗莱克饰演的戴尔虽然常在出场时逼停背景音乐，却不是脸谱化的反角，不擅表达感情的他身上有一种无力的仁厚，和妻子一同囚于生活的隐形牢笼之中；相较而言，克里斯托弗·阿波特出演的芬尼略显功能化，同时是虚伪教徒和暴戾父权代言人的他，理所当然地将妻子视为任其随意处置的所有物。

这个极具威胁性的危险人物，就像背景里严酷的乌云和暴风雪，早早预告了故事必然的悲剧终局。

与同类型前作相比，《打开心世界》承袭自原著的日记体叙事是最为突出的特点。

这一处理手法有着明显的风险，一方面，引自小说的大量旁白喧宾夺主地削弱了影像本身的情感表现力，另一方面，由阿比盖尔主导的封闭性叙事中数次插入的塔莉视角，也造成了影片叙述视角上的突兀断裂。

但尽管如此，日记体仍是《打开心世界》不得不采用的必要形式，托起了触及女性命运的深刻主题表达。

如阿比盖尔所言，“墨水像火焰”， 在记录与书写中，女性的存在，她们的挣扎、情感和欲望才得以被看见，被留存。

影片中出现了多种记录的形式，其中非常有趣的一种，是标示着逃亡路径的地图册。

电影开头与标题同现的纽约上州地图已经充分说明了地图册这一意象的重要性，而接下来的故事中，地图册充当起了划分各幕的标志物件，既是塔莉送上的贴心礼物，也指引着阿比盖尔踏上寻找爱人的险途，完成一次精神上的出走。

令人印象深刻的第二种记录形式，是“一家之主”们手上有失公允的账簿。

阿比盖尔的母亲曾告诉女儿，虽然她每日不辞辛劳地料理家务，她却只有在买裙子的时候才会出现在丈夫的账簿上，所有对家庭的辛勤付出被简化成一笔笔开销。

集市上，想起母亲的阿比盖尔宣示性地买下一条宝蓝长裙，随后却在归家途中目睹邻人的小女儿葬身火海。

早嫁或早陨的少女，劳苦或悲痛的母亲，几组母女的形象此刻在阿比盖尔面前重叠又轮回。

墨水和烈火都是一种无情的洗涤，让惯于在苦难中沉默的女人们得以显形，哪怕是以一种痛苦代替另一种痛苦。

全片最重要的记录，自然是阿比盖尔的日记。

塔莉曾说，“表达得少并不代表感受就少”，而阿比盖尔的日记恰好证明了这一点。

“我的心是一片树叶，被急速流动的水裹挟着冲过岩石”，在日记里，阿比盖尔用真诚凝练的字句填满了表达与感受之间的中空地带，为画面中她略显克制的表情，添上一笔笔深情的注解。

然而，有些出乎意料的是，如此坦诚的阿比盖尔其实是位有所保留的叙述者。

在片末吝啬的闪回里，当我们在翻飞的日期间匆匆瞥见破碎的情欲片段，才明白阿比盖尔在讲述中刻意隐瞒了多少珍贵的细节。

作为观众，这种在关键时刻被挡在门外的感觉确实让人气恼，但影片在情欲戏处理上的滞后和限制，一定程度上确立了阿比盖尔对于自己故事的绝对阐释权与控制权。

借由多种形式与载体，《打开心世界》展现了文字与记录的多重意义。

一本小小日记敞向无限乾坤，既能赋予记忆和情感以实体，也能开辟一方私密安全的心灵空间。

而在电影最后，经历失去的阿比盖尔又在不断的讲述与书写中，习得了名为“想象”的新工具。

小屋桌前，奋笔疾书的阿比盖尔双手沾满墨迹，在纸上这片自由的心世界里，她将永远拥有与爱人共度的他处生活。

（原文首发于《环球银幕》公众号）

《打开心世界》的故事发生在19世纪美国东北部，讲述了女主阿比盖尔和塔莉之间的爱情故事。

作为当时女性生存境遇的缩影，她们分别处于两段不幸的婚姻之中，她们之间的情感联结，在寒冷的冬季谱写出了一支哀婉的悲歌。

“我想买一本地图册。

”阿比盖尔的诉求第一次通过画外音说出，第二次对丈夫宣之于口，但却得不到支持的回应。

“地图册”作为道具勾连了人物感情，在剧情层面，是“渴望”的礼物打败了“实用”的礼物，情感的天平倾斜；在内心层面，是鼓励“无法外出”的女性在想象中冒险；在现实层面，成为了营救塔莉的线索。

另一个重要道具是“账本”。

在男性的世界，账本记录收支、登记访客，女性在账本上的存在或缺位，俨然彰显着“女性是男性的附属与财产”这一时代事实。

“没有记录过我们的心绪，我们的恐惧，我们的幸福，我们刺骨的悲伤”。

而对于阿比盖尔来说，账本记录的是情感的轨迹。

日记是女性写作的重要体裁，长于表现生命体验与内在情感。

就书写内容而言，阿比盖尔描绘了19世纪身为女性的心理体验。

电影大部分是阿比盖尔的主观视点。

她身处囚笼，敏锐地感知世界。

她日记的语言实际上相当克制，在最雀跃的时候不过重复三次“惊喜与喜悦”，在最悲伤的时候也只是使用比喻“我的心是一座没有书的图书馆”。

极高的情感强度和极内敛的书写语言，两者之间的张力呈现，离不开视觉语言。

在评价中，该电影常被类比为散文诗、风景画、抒情音乐。

尽管小说原著出自男性之手，但来自北欧的女性导演使这部电影的质地带上了强烈的女性特质。

导演擅长空间调度，在框架构图与冷暖色调的对比之间，调节人物的物理与心理距离，暗示人物心境与关系。

与空间对应的是声音和节奏，几乎铺满全片的人声独白、大比重的表现性音乐、自然环境的音响。

梦呓的独白和日记书写缠绕在一起，指向内心情感的外化以及和社会、自然环境的情状交接。

“冬日的阳光透过窗户，她的皮肤呈现出玫瑰和紫罗兰的颜色。

”这是触觉电影的案例，在画外音中，阿比盖尔以敏锐的感官能力描绘了对塔莉的细腻观察，这是日记的内容，也是她的内心体验。

此时，镜头在极近的距离掠过塔莉的脸部、袖口，这种看的方式并不具备色情意味，不是定点凝视，而是掠过皮肤，完成眼睛的触摸。

“我想象着继续在这本账簿上写下去，在这里，好像这就是我的生活。

好像我的生活不在别处。

”结尾，阿比盖尔的日记连用五个“想象”。

实际上，她没有见过海，但她对塔莉的情感记述中，充满了海洋相关的比喻。

这是一种想象之爱，是想象将她克制的爱意抛向了我们，实现了情感的内爆。

这部片9分都不为过吧，编剧，导演（才35碎）），演员，台词，节奏，对那么晦涩文艺的原著短篇小说的改编，，，还有等等都不止8.1分吧，比卡罗尔落地，比菊石文艺，比烧女紧凑，觉得应该是姬片中的扛把子了，怎么会只有8.1分呢？

还有哪个姬片里的两女主能如此般配到无与伦比天造地合，沃特斯特那么深情敏感，科比的层次感和性张力。

还有哪个姬片里有同夫表达的那么真切的？

一个包容传统一个暴虐自私，没有吧。。。

剧情惨到极致的清教徒世界的女子怎么能盼到新世界的来临呢？

苦逼到爆的片子，惨到不能刷两遍的片子，怎么能不炸裂整个姬圈？

那么用的太多了，因为实在对8.1分看不下去了。

致敬影片的所有工作者。