二十世纪HitSong

「My mom was born in 1924. When she was my age, people drove in sad cars to sad houses. With old phones, no money or food. Or televisions. But people were real.」


「You know having your heart broken, is a tremendous way to learn about the world.」


「Look. Wondering if you are happy it's a great shortcut to just being depressed.」


「I think History has been tough on men. I mean they can't be what they were. And they can't figure out what's next.」


「I had this new idea for my photography. I was gonna take a picture of everything that I own, so it will be self-portrait. Myself through the stuff that I have. So... Bra, birth control, On Photography by Susan Sontag, Shoes, Underwear. a picture of a picture of my mom. I'm gonna do a bunch of them.
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It's a little bit... It's a little bit sad. You know, all these stuff together... I don't know why that is. None, I mean... You know what I mean? It's really beautiful.」


「I'm crazy → You wish you were crazy.」


「Men always feel like they have to fix things for women, but they are not doing anything. But some things just can't be fixed. Just be there.」


「You'll get through this. You will get through it. You will do it. This is the really hard part. And then what happens is, there's a hard part and then it gets better. And then it gets hard again, but never mind. I should not have told you that part. I should've just said it gets better and then...That's it. But...」


「So, what was the fight about?
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Clitoral stimulation.
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Why do you need to fight about that?
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I don't know, I wanna be a good guy. Okay. I just wanna be able to satisfy a woman.
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Kid, I'm sure you will.」
hahahaha...


「Whatever you think your life is going to be like, just know, it's not going to be anything like that.」


「You get to see him out in the world as a person. I never will.」


「I am gregarious... interested in others. And I think intelligence. All I ask is to get to know people and to have them interested in knowing me. I doubt whether I would marry again and live that close to another individual. But I remain invisible. Don't pretend for a minute as you look at me that I am not as alive as you are, and I do not suffer from the category to which you are forcing me. I think, stripped down, I look more attractive than my ex-husband. But I am sexually and socially obsolete, and he is not. I have a capacity now for taking people as they are, which I lacked at 20. I reach orgasm in half the time and I know how to please, yet I do not even dare show a man that I find him attractive. If I do, he may react as if I have insulted him. I'm supposed to fulfill my small functions and vanish.
        —— <It Hurts To Be Alive And Obsolete: The Aging Woman> Zoe Moss 1970」


「I don't want to just have sex with you, I want you.
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But it's your version of me. It's not me. It'd be a lot better if you just wanted sex.」


「Having a kid seems like the hardest thing.
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Yeah. How much you love the kid... you're just pretty much screwed.」


「I thought they'd help.
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Well, it just seemed like you couldn't deal with me anymore.
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Look. I wanted... I... Look, I... I don't want you to end up in the same place as me.
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What does that mean?
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Well, I wanted you to be happier. And I just didn't think I could do it by myself. I...
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You're right. I thought we were fine though just me and you.
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Yeah?
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Yeah.」


【♫Rudy Vallée - As Time Goes By♫】

（芷宁写于2017年4月6日）
        在导演身份之外，迈克·米尔斯的重要身份是纽约著名艺术家，艺术家大多善于从自身经历和周遭感受出发，寻找灵感火花来完成创作，这点从米尔斯的前作、探讨父子关系因生活方式发生质变而产生心绪变化的影片《初学者》中便可见一斑，此番的《二十世纪女人（20th Century Women）》，也是米尔斯从自身生活经历出发的创作，而他光影化人物的能力似乎也在进步，且更具个人风格。
       可以说，这是一部节奏散漫舒缓却渐成滋味的影片，既轻盈又深刻，片中三位二十世纪女性各有原型，她们分别是米尔斯的母亲、姐姐和好友。大约正因为可以从现实中、回忆里采撷取摘，片中的三位女性和男主人公之间的互动交流，才显得特别的真切而有趣，既日常又非常，还带着点淡淡的伤感，就像对那个已经一去不复返的世纪。
        影片拍得很文艺，仿佛影像化了上世纪的某些年代碎片，也很有思考意义，有人将其主题解读为一个男孩的成长，想来本末倒置了，该片虽以男孩视角切入，也有着母亲意图借助另外两位女性朋友的协助，一同抚养正值青春期男孩的剧情交代与推进，但其内质是男孩与三位二十世纪女性的互动与交集，并藉此再现着这三个分别出生于20年代、50年代、60年代女人的人生遭遇、人生态度及选择。
        安徒生说：“仅仅活着是不够的，还需要有阳光、自由，和一点花的芬芳。”阳光、自由和花的芬芳，恰如这三位女性的追寻，她们内心坚韧，尝试并承受着生活中的苦乐，在充满变数的时代，试图寻到适合自己的生活方式，这种身心探寻与自我审视，颇有迷人之处，而男性在这里成了旁观者和辅助，当然男孩的成长需要自她们这里汲取养分。
       15岁的儿子杰米发生的一次意外，让40岁才生儿的晚育单身母亲多萝西娅愈发意识到自己的时代局限性和能力范围，她的托付显得郑重其事，而她选择的人选也很有意思——颇具文艺气质的女房客艾比和杰米喜欢的女孩朱莉。狄更斯说：“女人们是伟大的观察家。 ”母亲做这个决定，其实是有理有据的，她需要两个与时代更为呼应的年轻人从心智发展和情感生活各方面，引导杰米。
        24岁的艾比能在音乐欣赏和阅读方面的影响杰米，特别是让杰米接触到有关解读女性的大部头书籍，则让杰米比其他同年龄的半大小子在认知层面上出脱了许多；17岁的朱莉有个当心理医生的母亲，她则被拉入各种莫名的心理疏导交流圈，这个女孩的内心有着超出实际年龄的成熟和哀伤，她有着丰富的身体体验，却只想在喜欢她的杰米这里寻求精神交流，她每次和杰米的谈心，似乎都对其的情感体会层面起着微妙的作用。
        三位女性的人生，都有着时代的烙印，也经历着生活的雾霭，虽不似罗曼·罗兰所言的：“社会的狂飙奔跑着，以袭击的步伐推翻墙壁……唤醒在人们心里的精灵”，但她们也唤醒了内心深处的某些部分，摸索着试图确认，她们以普通人的、和自己的年龄和感知相称的方式，与那个时代一同运转着，看着她们辗转于生活，不免有种越细品越丰饶的滋味。
        片中三位女性的形象生动，饰演母亲多萝西娅的安妮特·贝宁，演技依旧好，表现适宜而亮眼，将母亲在与儿子、与情感、与朋友、与时代的碰撞中所产生的心境与感受，拿捏得当。格蕾塔·葛韦格饰演了经历不幸想要改变，改变的方向却不在预料中的文艺女青年。近来堪称劳模的艾丽·范宁将那个年代有些想法却迷惘、看似可以支配自己的一切却总是被动承受的女孩演得到位。
        该片的镜头画面很迷人，仿佛蕴含着丰富的想象力和敏锐的感觉，而这样一部需要细细品味的影片，却被不少人诟病为没有多少实际进展的内容，这大约因对影片需求不同所造成的评价，事实上，该片剧情虽然没什么波折起伏，但却有着许多细致入微的细节片段，足以令观众看清角色的生活是如何被身边最亲近的人影响的。
        而在另一些人看来，一部影片最重要的是塑造人物，就这点而言，该片做到了，它注重角色的构建，人物的呈现即便不具有典型代表性，也立体饱满，且该片将人物之间的交流呈现得颇有意趣，这三位二十世纪女人，平凡而普通，在自己所处的时代，做着令心灵释放的寻觅与尝试，值得观众期许。当片中的杰米有了自己的孩子后，他认为很难同孩子形容孩子那已经故去的奶奶是个怎样的人，他很难形容二十世纪的女人，看到这里，不禁感慨。
（杂志约稿）