今晚剛剛看完這片子，突然發(fā)現(xiàn)活得單純很幸福。電影帶給我的，或許就是這般魅力，描述的故事里或多或少是現(xiàn)實(shí)的影子，更多的解讀留給觀眾，有新的視角思量自己的生活。
  片子描述的故事是一個(gè)女明星從窮困潦倒到真正上位的過程。誰都知道明星紅的原因無非幾種，其一相貌好，背景好，少許天賦，其二就是善于包裝自己，善于制造機(jī)會(huì)。用一句話形容娛樂圈，貴圈真亂。該電影通過一個(gè)完整的故事影射了這個(gè)圈子。
  eve，典型的渴望成名的女生，貧困的生活和渴望成名的欲望驅(qū)使她成為了一個(gè)追名逐利的女人，甚至為了這些不惜獻(xiàn)上基本的人格。片子雖然在描述這個(gè)女人的故事，但是她卻只是女配的存在。因?yàn)樗贿^是萬千成名過又消失過的女明星中的一員，無限膨脹的欲望和低端的手段，自己斷送了快樂，失去了朋友，換來了獎(jiǎng)杯和燈光，用pathetic來形容最好。
  讓我想到了好萊塢的巨星，瓊克勞馥，與本片的女主角貝蒂戴維斯在真實(shí)的好萊塢是死對(duì)頭，她和本片女主的出生一樣，不知道睡過多少導(dǎo)演才混到一線女星的位置，演技出眾，一生的婚姻數(shù)次，伴侶無數(shù)。雖是貴為巨星，但是我卻并不欣賞，相對(duì)比我最愛的女神費(fèi)雯麗，我覺得雖然費(fèi)的生活不順暢，但是很純粹，愛了勞倫斯一輩子，追隨他直到去世。比起機(jī)關(guān)算盡，最終獲得名利，但是這個(gè)過程里其實(shí)是得不償失吧，就像名利場(chǎng)的主人公一樣，其實(shí)是很孤獨(dú)的。
  說說本片最重要也是最幸福的人，margo。大明星的出場(chǎng)，有朋友，坦率，受歡迎，但是也很驕傲。但是除開這些，她是一個(gè)要強(qiáng)的女人。因此在她意識(shí)到eve正在逐步的靠近她，并且模仿她，試圖和她競(jìng)爭的時(shí)候，她的競(jìng)爭意識(shí)很容易就讓自己處于一個(gè)比較焦躁的位置，因此她發(fā)怒，不滿，并且不希望eve和她靠的過近。當(dāng)然最直接的原因還是因?yàn)槟腥?，?dāng)margo看到eve和自己的男人有交集的時(shí)候，這些潛在的擔(dān)心全都成為了發(fā)泄口。當(dāng)margo意識(shí)到自己這些焦躁和真正的原因的時(shí)候，她在車?yán)镎f了一句或許是我過了十多年后會(huì)感嘆的話，人在向上爬的時(shí)候會(huì)舍棄很多東西，但是當(dāng)我們爬到要的位置又會(huì)回過頭去重新拾起那些曾經(jīng)覺得不重要的。女人應(yīng)該做的不過是回歸家庭，每天六點(diǎn)做飯等mr right回家。我覺得這是一個(gè)功成名就的女人說的很真實(shí)的話，因?yàn)槊呀?jīng)不值一提了，缺少的并不是物質(zhì)上的，而是一份平淡和舒心，當(dāng)然對(duì)于margo，能夠提供這份單純的幸福的就是她的愛情。因此，margo最后拒絕了劇本，她全身而退，就像巔峰時(shí)期的嘉寶，選擇了自己所追求的安靜生活。
  本片的劇本十分精良，2個(gè)多小時(shí)把整個(gè)故事和細(xì)節(jié)說得非常完整，并且臺(tái)詞安排也十分精細(xì)。當(dāng)然選角也確實(shí)不錯(cuò)，margo的生氣到淡然到不屑都被貝蒂戴維斯演的十分自然，仿佛本色演出，而eve的楚楚可憐到貪婪本色也演得令人厭惡。
  最后想說說一些個(gè)人無關(guān)影評(píng)對(duì)生活的看法。這年頭各種新聞不斷的刷新我們的世界觀，但是作為一個(gè)高校的大學(xué)生，我很享受自己的學(xué)生生活，每天通過獲取一些知識(shí)就能獲得成就感 ，這種很簡單的滿足其實(shí)我很想多享受幾年?？戳吮酒鋵?shí)現(xiàn)在的各個(gè)圈子這種例子又何嘗不存在呢？感覺不滿足就是人最致命的缺點(diǎn)。
  比如說我自己，最近經(jīng)歷研究生保研或出國的選擇，就發(fā)現(xiàn)自己考慮的東西實(shí)在很多，活得略有些累。因此我索性就放在一邊不管，天天看公開課，看論文，雖然難，但是每一天都在學(xué)知識(shí)，感覺異常的充實(shí)，比起思考和做選擇，實(shí)在太舒服了。
  再者就是我覺得做普通人很好，沒有那么多關(guān)注，沒有那么多欲望，沒有那么多擔(dān)憂，就為自己想做的去努力付出就好。想的美好一點(diǎn)，哪天真的成為了富一代，人生有的時(shí)候也不否認(rèn)出現(xiàn)運(yùn)氣好轉(zhuǎn)的可能嘛哈哈。

我記得初中時(shí)候?qū)W一篇什么什么游記，有一句“鳶飛戾天者，望峰息心；經(jīng)綸事務(wù)者，窺谷忘返”，初讀時(shí)候暗自心驚了一下。作為聰聰兒長大的我，即使在最不愛學(xué)習(xí)的階段也盲目自大，心高氣傲，覺得自己以后肯定不是一般人兒?？墒强墒?，“鳶飛戾天”這四個(gè)字，把通常被認(rèn)為是美德的"上進(jìn)"、"要強(qiáng)"寫得多么面目猙獰，可厭可憎。

 

今天在白底小碎花的被窩里看了《彗星美人》。一個(gè)還算天生麗質(zhì)的女人伊娃，機(jī)關(guān)算盡太聰明，扮豬吃老虎，從編造身世搖尾乞憐到反客為主鳩占鵲巢，啊呀呀，真是看的人心驚。霸道專橫表面強(qiáng)勢(shì)的瑪歌呢，其實(shí)是最“傻”的，完全不同人情事故。不過沒關(guān)系，她是天生女明星，有獨(dú)特的、強(qiáng)大的，混合的、迷人的魅力。最終伊娃得到了原本屬于瑪歌的一切地位與聲名，而瑪歌的境界高出一籌，到達(dá)了她的幸福終點(diǎn)站——婚姻，于是洗盡鉛華投身平淡生活，也就原諒了那個(gè)“粉絲”用于竊取光芒的卑鄙手段。

 

瑪歌，一如大多數(shù)成功女強(qiáng)人，在不如意的時(shí)刻對(duì)好朋友傾訴：女人呀，最終還是給別人準(zhǔn)備三餐，打掃房間，不然就不是女人。女人呀，向上爬的時(shí)候丟掉了女人最重要的一切，竟然忘記自己最后還是要作女人的?？吹轿也唤行鋈弧ぁぁざ镣藓笃诘目可?，影評(píng)人杜威特在與伊娃攤牌的時(shí)刻說，你我都一樣，利用所有資源實(shí)現(xiàn)自己的目標(biāo)，心底里蔑視人性，我們才華橫溢，是殺手，是冠軍。

 

誒，大反派的自白一向讓我覺得亢奮（《獅子王》里的刀疤在山洞里的那場(chǎng)戲我看了多少遍），胸有成竹步步為營小不忍則亂大謀臥薪嘗膽，我喜歡冷峻，理性，效率和長久忍耐換一時(shí)快感。可是，畢竟不喜歡欺騙，虛偽，前倨后恭或者前恭后倨——那不是冠軍，只是欲望的奴隸。

 

人又說這是一個(gè)關(guān)于做人難做女人難做名女人難上加難的故事，不止如此吧。做主人還是做奴隸，姿態(tài)瀟灑還是卑鄙，這里邊的標(biāo)準(zhǔn)和困難程度對(duì)男女都差不多。我喜歡瑪歌，要風(fēng)光時(shí)風(fēng)光無限，要轉(zhuǎn)身時(shí)不顧一切。大的隨遇而安，自然而然。她的爆炸和溫柔都讓我振奮，讓我相信四十歲以后會(huì)有另一種精彩。伊娃啊，她是小人，她做的惡心，比起瑪歌還太低段。要強(qiáng)上進(jìn)或是安于現(xiàn)狀都只是人生選項(xiàng)的一種，而低級(jí)、高級(jí)是另一道題，一道決勝的大題。

 

所以捏，既然上進(jìn)不一定要出賣良心，自己往上爬不一定要把別人往下踹，成功不一定要一將功成萬骨枯，和諧社會(huì)了；所以鳶飛戾天，那就去。孫悟空說“我要那天，再也遮不住我的眼”的時(shí)候，我簡直為之傾倒傾倒傾倒再傾倒直至倒地不起，那里面有崇拜有心疼，崇拜加心疼。如果飛累了就停下，別怕那時(shí)會(huì)繞樹三匝無枝可依。林子大了，鳥多了去。

 

這電影里有個(gè)閃了幾下的女龍?zhí)?，一個(gè)又傻又漂亮眼睛到處放電的女演員，是夢(mèng)露，那時(shí)還清瘦。

一直在想一個(gè)好故事的必備條件是什么？

他一定要有一個(gè)深刻的東西。all about eve在談?wù)撘粋€(gè)特別重要的東西，西方人特別喜歡講的，百講不厭：innocence／天真。尤其在物欲橫流的當(dāng)下，（在這個(gè)故事背景中，好萊塢就是其意象）在充滿著欺騙和偽善的世界里，這個(gè)東西特別珍貴，所以一再拿出來講。

但意念本身沒有力量，它要牽引著人物，領(lǐng)導(dǎo)著故事，就變得強(qiáng)大無比。

all about eve不是一個(gè)膚淺的[杜拉拉上位]的故事，是一個(gè)充滿野心和欲望的女孩兒，在心計(jì)算盡后奪得權(quán)力的故事，它構(gòu)筑著好萊塢／美國主流價(jià)值觀，也預(yù)言著未來，預(yù)言著整個(gè)當(dāng)下和全世界奉行的東西：這個(gè)世界的主流價(jià)值崇尚著權(quán)利名譽(yù)地位的欲望與野心，在追求成功的道路上，我們將失去最初最純真的東西。天真、善良、正直、誠實(shí)，這些人性中最寶貴的東西。

所以編劇給我們塑造了margo、eve、karen、Lloyd、addison這樣一班人，他們?cè)谶@樣一個(gè)名利的漩渦中，自主不自主的不端檢測(cè)著自己內(nèi)心的[innocence]。

不再一一分析了，尤為有趣的是如日中天的老明星margo和急于上位的年輕人eve之間形成的微妙對(duì)比。

或許當(dāng)年margo也是這么攻于心計(jì)成就了今天的地位，但是現(xiàn)在的她盡管看起來老態(tài)／名利雙收，應(yīng)該是圓滑世故的人物，但是實(shí)則天真／直率，我覺得她不是不懂得掩飾，而是已經(jīng)不在乎不愿意偽裝，也疲于偽裝了。在經(jīng)歷多年的明星生涯后，她不時(shí)袒露心扉：
The things you drop on your way up the ladder, so you can move faster.
You forget you'll need them again when you go back to being a woman.
 That's one career all females have in common - whether we like it or not - being a woman.
 Sooner or later we've all got to work at it, no matter what other careers we've had or wanted... and, in the last analysis, nothing is any good unless you can look up just before dinner or turns around in bed - and there he is. Without that, you're not woman. You're something with a French provincial office or a book full of clippings - but you're not a woman...
盡管這段言論很大程度上反映了女性的無力感和不安全感，反映了在這樣一個(gè)男權(quán)社會(huì)里，女人的脆弱。但同時(shí)，margo呈現(xiàn)出特別天真，特別坦誠，也很純粹同時(shí)脆弱的一面，我們看到一個(gè)四十歲的女人外殼下，是一個(gè)十幾歲女孩兒的純粹的內(nèi)心。

相比華麗外表下依然天真的margo，eve一個(gè)天真的名字，天真的年紀(jì)，也天真的[背景故事]后面，竟是一個(gè)攻于心計(jì)的毒辣女人。這種反差很有戲劇感。

ps，整個(gè)劇看完以后有一種人性真是復(fù)雜／社會(huì)真是復(fù)雜的感覺，你不敢斷然批評(píng)某一個(gè)具體的人物，卻好像對(duì)人生和這個(gè)世界有了多一點(diǎn)點(diǎn)的理解，還有反思。
這就是好故事吧！


整個(gè)故事對(duì)幾個(gè)女性的表現(xiàn)非常精彩，其中很大程度上得益于臺(tái)詞的俏皮／智慧與不經(jīng)意的深刻，找來了劇本，供自己日后及有意者研究學(xué)習(xí)：



FADE IN:

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

It is not a large room and jammed with tables, mostly for
four but some for six and eight. A long table of honor, for
about thirty people, has been placed upon a dais.

Diner is over. Demi-tasses, cigars and brandy. The overall
effect is one of worn elegance and dogged gentility. It is
June.

The CAMERA, as it has been throughout the CREDIT TITLES, is
on the SARAH SIDDONS AWARD. It is a gold statuette, about a
foot high, of Sarah Siddons as The Tragic Muse. Exquisitely
framed in a nest of flowers, it rests on a miniature altar in
the center of the table of honor.

Over this we hear the crisp, cultured, precise VOICE of
ADDISON deWITT:

                        ADDISON'S VOICE
         The Sarah Siddons Award for
         Distinguished Achievement is
         perhaps unknown to you. It has been
         spared the sensational and
         commercial publicity that attends
         such questionable "honors" as the
         Pulitzer Prize and those awards
         presented annually by the film
         society...

The CAMERA has EASED BACK to include some of the table of
honor and a distinguished gentleman with snow-white hair who
is speaking. We do not hear what he says.

                        ADDISON'S VOICE
         The distinguished looking gentleman
         is an extremely old actor. Being an
         actor - he will go on speaking for
         some time. It is not important what
         you hear what he says.

The CAMERA EASES BACK some more, and CONTINUES until it
discloses a fairly COMPREHENSIVE SHOT of the room

                        ADDISON'S VOICE
         However it is important that you
         know where you are, and why you are
         here. This is the dining room of
         the Sarah Siddons Society.
         The occasion is its annual banquet
         and presentation of the highest
         honor our Theater knows - the Sarah
         Siddons Award for Distinguished
         Achievement.

A GROUP OF WAITERS are clustered near the screen masking the
entrances of the kitchen. The screens are papered with old
theatrical programs. The waiters are all aged and venerable.
They look respectfully toward the speaker.

                        ADDISON'S VOICE
         These hollowed walls, indeed many
         of these faces, have looked upon
         Modjeska, Ada Rehan and Minnie
         Fiske; Mansfield's voice filled the
         room, Booth breathed this air. It
         is unlikely that the windows have
         been opened since his death.

CLOSE - THE AWARD on its altar, it shines proudly above five
or six smaller altars which surround it and which are now
empty.

                        ADDISON'S VOICE
         The minor awards, as you can see,
         have already been presented. Minor
         awards are for such as the writer
         and director - since their function
         is merely to construct a tower so
         that the world can applaud a light
         which flashes on top of it and no
         brighter light has ever dazzled the
         eye than Eve Harrington. Eve... but
         more of Eve, later. All about Eve,
         in fact.

THE CAMERA MOVES TO: CLOSE - ADDISON deWITT, not young, not
unattractive, a fastidious dresser, sharp of eye and
merciless of tongue. An omnipresent cigarette holder projects
from his mouth like the sward of D'Artagnan.

He sits back in his chair, musingly, his fingers making
little cannonballs out of bread crumbs. His narration covers
the MOVE of the CAMERA to him:

                        ADDISON'S VOICE
         To those of you who do not read,
         attend the Theater, listen to
         uncensored radio programs or know
         anything of the world in which we
         live - it is perhaps necessary to
         introduce myself. My name is
         Addison deWitt.
         My native habitat is the Theater -
         in it I toil not, neither do I
         spin. I am a critic and
         commentator. I am essential to the
         Theater - as ants are to a picnic,
         as the ball weevil to a cotton
         field...

He looks to his left. KAREN RICHARDS is lovely and thirtyish
in an unprofessional way. She is scraping bread crumbs,
spilled sugar, etc., into a pile with a spoon. Addison takes
one of her bread crumbs. She smiles absently. Addison rolls
the bread crumb into a cannonball.

                        ADDISON'S VOICE
         This is Karen Richards. She is the
         wife of a playwright, therefore of
         the Theater by marriage. Nothing in
         her background or breeding should
         have brought her any closer the
         stage than row E, center...

Karen continues her doodling.

                        ADDISON'S VOICE
         ... however, during her senior year
         in Radcliffe, Lloyd Richards
         lectured on drama. The following
         year Karen became Mrs. Lloyd
         Richards. Lloyd is the author of
         'Footsteps on the Ceiling' - the
         play which has won for Eve
         Harrington the Sarah Siddons
         Award...

Karen absently pats the top of her little pile of refuse. A
hand reaches in to take the spoon away. Karen looks as the
CAMERA PANS with IT to MAX FABIAN. He sits at her left. He's
a sad-faced man with glasses and a look of constant
apprehension. He smiles apologetically and indicated a white
powder with he unwraps. He pantomimes that his ulcer is
snapping.

Karen smiles back, returns to her doodling. Addison mashes a
cigarette stub, pops it out of his holder. He eyes Max.

                        ADDISON'S VOICE
         There are two types of theatrical
         producers. One has a great many
         wealthy friends who will risk a tax
         deductible loss. This type is
         interested in Art.

Max drops the powder into some water, stirs it, drinks, burps
delicately and close his eyes.

                        ADDISON'S VOICE
         The other is one to whom each
         production mean potential ruin or
         fortune. This type is out to make a
         buck. Meet Max Fabian. He is the
         producer of the play which has won
         Eve Harrington the Sarah Siddons
         Award...

Max rests fitfully. He twitches. A hand reaches into the
SCENE, removes a bottle of Scotch from before him. The CAMERA
follows the bottle to MARGO CHANNING. She sits at Max's left,
at deWitt's right. An attractive, strong face. She is
childish, adult, reasonable, unreasonable - usually one when
she should be the other, but always positive. She pours a
stiff drink.

Addison hold out the soda bottle to her. She looks at it, and
at him, as if it were a tarantula and he had gone mad. He
smiles and pours a glass of soda for himself.

                        ADDISON'S VOICE
         Margo Channing is the Star of the
         Theater. She made her first stage
         appearance, at the age of four, in
         'Midsummer Night's Dream'. She
         played a fairy and entered - quite
         unexpectedly - stark naked. She has
         been a Star ever since.

Margo sloshes her drink around moodily, pulls at it.

                        ADDISON'S VOICE
         Margo is a great Star. A true Star.
         She never was or will be anything
         less or anything less...
                (slight pause)
         ... the part for which Eve
         Harrington is receiving the Sarah
         Siddons Award was intended
         originally for Margo Channing...

Addison, having sipped his soda water, puts a new cigarette
in his holder, leans back, lights it, looks and exhales in
the general direction of the table of honor. As he speaks the
CAMERA MOVES in the direction of his glance...

                        ADDISON'S VOICE
         Having covered in tedious detail
         not only the history of the Sarah
         Siddons Society, but also the
         history of acting since Thespis
         first stepped out of the chorus
         line - our distinguished chairman
         has finally arrived at our reason
         for being here...

At this point Addison's voice FADES OUT and the voice of the
aged actor FADES IN. CAMERA is in MEDIUM CLOSE SHOT of him
and the podium.

                        AGED ACTOR
         I have been proud and privileged to
         have spent my life in the Theater -
         "a poor player ... that struts and
         frets his hour upon the stage" -
         and I have been honored to be, for
         forty years, Chief Promoter of the
         Sarah Siddons Society...
                (he lifts the Sarah
                 Siddons Award from its
                 altar)
         Thirty-nine times have I placed in
         deserving hands this highest honor
         the Theater knows...
                (he grows a bit arch, he
                 uses his eyebrows)
         Surely no actor is older than I - I
         have earned my place out of the
         sun...
                (indulgent laughter)
         ... and never before has this Award
         gone to anyone younger than its
         recipient tonight. How fitting that
         it should pass from my hands to
         hers...

EVE HANDS: Lovely, beautifully groomed. In serene repose,
they rest between a demi-tasse cup and an exquisite small
evening cup.

                        AGED ACTOR
         Such young hands. Such a young
         lady. Young in years, but whose
         heart is as old as the Theater...

Addison's eyes narrow quizzically as he listens. Then,
slowly, he turns to look at Karen...

                        AGED ACTOR
         Some of us a privileged to know
         her. We have seen beyond the beauty
         and artistry-

Karen never ceases her thoughtful pat-a-cake with the crumbs.

                        AGED ACTOR
         -that have made her name resound
         through the nation. We know her
         humility. Her devotion, her loyalty
         to her art.

Addison's glance moves from Karen to Margo.

                        AGED ACTOR
         Her love, her deep and abiding love
         for us-

Margo's face is a mask. She looks down at the drink which she
cradles with both hands.

                        AGED ACTOR
         -for what we are and what we do.
         The Theater. She has had one wish,
         one prayer, one dream. To belong to
         us.
                (he's nearing his curtain
                 line)
         Tonight her dream has come true.
         And henceforth we shall dream the
         same of her.
                (a slight pause)
         Honored members, ladies and
         gentlemen - for distinguished
         achievement in the Theater - the
         Sarah Siddons Award to Miss Eve
         Harrington.

The entire room is galvanized into sudden and tumultuous
applause. Some enthusiastic gentlemen rise to her feet...
Flash bulbs start popping about halfway down the table of the
Aged Actor's left...

Eve rises - beautiful, radiant, poised, exquisitely gowned.
She stands in simple and dignified response to the ovation.

A dozen photographers skip, squat, and dart about like water
bugs. Flash bulbs pop and pop and pop...

THE WAITERS applaud enthusiastically...

AGED ACTOR, Award in hand, he beams at her...

EVE smiles sweetly to her left, then to her right...

MAX has come to. He applauds lustily.

ADDISON's applauding too, more discreetly.

MARGO, not applauding. But you sense no deliberate slight,
merely an impression that as she looks at Eve her mind is on something else...

KAREN, nor is she applauding. But her gaze is similarly fixed
on Eve in a strange, faraway fashion.

ADDISON, still applauding, his eyes flash first at Margo and
then at Karen. Then he directs them back to Eve. He smiles
ever so slightly.

The applause has continued unabated. EVE turns now, and moves
gracefully toward the Aged Actor. She moves through
applauding ladies and gentlemen; from below the flash bulbs
keep popping...

As she nears her goal, the Ages Actor turns to her. He holds
out the award. Her hand reaches out for it. At that precise
moment - with the award just beyond her fingertips - THE
PICTURE HOLDS, THE ACTION STOPS. The SOUND STOPS.

                        ADDISON'S VOICE
         Eve. Eve, the Golden Girl. The
         cover girl, the girl next door, the
         girl on the moon... Time has been
         good to Eve, Life goes where she
         goes - she's been profiled,
         covered, revealed, reported, what
         she eats and when and where, whom
         she knows and where she was and
         when and where she's going...

ADDISON has stopped applauding, he's sitting forward, staring
intently at Eve... his narration continues unbroken.

                        ADDISON'S VOICE
         ... Eve. You all know all about
         Eve... what can there be to know
         that you don't know...?

As he leans back, the APPLAUSE FADES IN as tumultuous as
before. Addison's look moves slowly from Eve to Karen.

KAREN, she leans forward now, her eyes intently on Eve. Her
lovely face FILLS THE SCREEN as the APPLAUSE FADES ONCE MORE -
as she thinks back:

                        KAREN'S VOICE
         When was it? How long? It seems a
         lifetime ago. Lloyd always said
         that in the Theater a lifetime was
         a season, and a season a lifetime.
         It's June now. That was - early
         October... only last October. It
         was a drizzly night, I remember I
         asked the taxi to wait...

                                                        DISSOLVE TO:

EXT. NEW YORK THEATER STREET - NIGHT

Traffic is not heavy, the shows have broken some half-hour
before. The rain is just a drizzle.

There are other theaters on the street; display lights are
being extinguished. Going out just as Karen's taxi pulls up
is: MARGO CHANNING in 'AGED IN WOOD'. The marquis display
below includes "Max Fabian Presents" and "By Lloyd Richards."

The taxi comes to a stop at the alley. Karen can be seen
through the closed windows telling the driver to wait. Then
she gets out. She takes a step, hesitates, then looks about
curiously:

                        KAREN'S VOICE
         Where was she? Strange... I had
         become so accustomed to seeing her
         there night after night - I found
         myself looking for a girl I'd never
         spoken to, wondering where she
         was...

She smiles a little at her own romanticism, puts her head
down and makes her way into the alley.

EXT. ALLEY - CURRAN THEATER - NIGHT

Karen moves toward the stage door. She passes a recess in the
wall - perhaps an exit - about halfway.

                        EVE'S VOICE
                (softly)
         Mrs. Richards...

Karen hesitates, looks. Eve is barely distinguishable in the
shadow of the recess. Karen smiles, waits. Eve comes out. A
gooseneck light above them reveals her...

She wears a cheap trench coat, low-heeled shoes, a rain hat
stuck on the back of her head... Her large, luminous eyes
seem to glow up at Karen in the strange half-light.

                        KAREN
         So there you are. It seemed odd,
         suddenly, your not being there...

                        EVE
         Why should you think I wouldn't be?

                        KAREN
         Why should you be? After all, six
         nights a week - for weeks - of
         watching even Margo Channing enter
         and leave a theater-

                        EVE
         I hope you don't mind my speaking
         to you...

                        KAREN
         Not at all.

                        EVE
         I've seen you so often - it took
         every bit of courage I could raise-

                        KAREN
                (smiles)
         To speak to just a playwright's
         wife? I'm the lowest form of
         celebrity...

                        EVE
         You're Margo Channing's best
         friend. You and your husband are
         always with her - and Mr.
         Sampson... what's he like?

                        KAREN
                (grins)
         Bill Sampson? He's - he's a
         director.

                        EVE
         He's the best.

                        KAREN
         He'll agree with you. Tell me, what
         do you between the time Margo goes
         in and comes out? Just huddle in
         that doorway and wait?

                        EVE
         Oh, no. I see the play.

                        KAREN
                (incredulous)
         You see the play? You've seen the
         play every performance?
                (Eve nods)
         But, don't you find it - I mean
         apart from everything else - don't
         you find it expensive?

                        EVE
         Standing room doesn't cost much. I
         manage.

Karen contemplates Eve. Then she takes her arm.

                        KAREN
         I'm going to take you to Margo...

                        EVE
                (hanging back)
         Oh, no...

                        KAREN
         She's got to meet you-

                        EVE
         No, I'd be imposing on her, I'd be
         just another tongue-tied gushing
         fan...

Karen practically propels her toward the stage door.

                        KAREN
                (insisting)
         There isn't another like you, there
         couldn't be-

                        EVE
         But if I'd known... maybe some
         other time... I mean, looking like
         this.

                        KAREN
         You look just fine...
                (they're at the stage
                 door)
         ... by the way. What's your name?

                        EVE
         Eve. Eve Harrington.

Karen opens the door. They go in.

INT. BACKSTAGE - CURRAN THEATER - NIGHT

Everything, including the doorman, looks fireproof.

Eve enters like a novitiate's first visit to the Vatican.
Karen, with a "Good evening, Gus -" to the doorman, leads the
way toward Margo's stage dressing room. Eve, drinking in the
wonderment of all the surveys, lags behind. Karen waits for
her to catch up...

                        EVE
         You can breathe it - can't you?
         Like some magic perfume...

Karen smiles, takes Eve's arm. They proceed to Margo's
dressing room.

EXT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT

No star on the closed door; the paint is peeling. A type
written chit, thumbtacked, says MISS CHANNING.

As Karen and Eve approach it, an uninhibited guffaw from
Margo makes them pause.

                        KAREN
                (whispers)
         You wait a minute...
                (smiles)
         ... now don't run away-

Eve smiles shakily. At the same moment:

                        MARGO'S VOICE
                (loudly; through the door)
         "Honey chile," I said, "if the
         South had won the war, you could
         write the same plays about the
         North!"

Karen enters during the line.

INT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT

It is a medium-sized box, lined with hot water pipes and
cracked plaster. It is furnished in beat-up wicker. A door
leads to an old-fashioned bathroom.

Margo is at the dressing table. She wears an old wrapper, her
hair drawn back tightly to fit under the wig which lies
before her like a dead poodle. Also before her is an almost
finished drink.

LLOYD RICHARDS is stretched out on the wicker chaise. He's in
his late thirties, sensitive, literate.

Between them, by the dressing table, is BIRDIE - Margo's
maid. Her age is unimportant. She was conceived during a
split week in Walla Walla and born in a carnival riot. She is
fiercely loyal to Margo.

Karen enters during the line Margo started while she was
outside. Lloyd chuckles, Birdie cackles.

                        KAREN
         Hi.
                (she goes to kiss Lloyd)
         Hello, darling-

                        MARGO
         Hi.
                (she goes right on - in a
                 think "Suth'n" accent)
         "Well, now Mis' Channin', ah don't
         think you can rightly say we lost
         the wah, we was mo' stahved out,
         you might say - an' that's what ah
         don' unnerstand about all these
         plays about love-stahved Suth'n
         women - love is one thing we was
         nevah stahved for the South!"

                        LLOYD
         How was the concert?

                        KAREN
         Loud.

                        BIRDIE
         Lemme fix you a drink.

                        KAREN
         No thanks, Birdie.

Karen laughs with them.

                        LLOYD
         Margo's interview with a lady
         reporter from the South-

                        BIRDIE
         The minute it gets printed they're
         gonna fire on Gettysburg all over
         again...

                        MARGO
         It was Fort Sumter they fired on-

                        BIRDIE
         I never played Fort Sumter.

She takes the wig into the bathroom. Margo starts creaming
the make-up off her face.

                        MARGO
         Honey chili had a point. You know,
         I can remember plays about women -
         even from the South - where it
         never even occurred to them whether
         they wanted to marry their fathers
         more than their brothers...

                        LLOYD
         That was way back...

                        MARGO
         Within your time, buster. Lloyd,
         honey, be a playwright with guts.
         Write me one about a nice, normal
         woman who shoots her husband.

Birdie comes out of the bathroom without the wig.

                        BIRDIE
         You need new girdles.

                        MARGO
         Buy some.

                        BIRDIE
         The same size?

                        MARGO
         Of course!

                        BIRDIE
         Well. I guess a real tight girdle
         help when you're playin' a lunatic.

She picks up Lloud empty glass, asks "more"? He shakes his
head. She pours herself a quick one.

                        KAREN
                (firmly)
         Margo does not play a lunatic,
         Birdie.

                        BIRDIE
         I know. She just keeps hearin' her
         dead father play the banjo.

                        MARGO
         It's the tight girdle that does it.

                        KAREN
         I find these wisecracks
         increasingly less funny! 'Aged in
         Wood' happens to be a fine and
         distinguished play-

                        LLOYD
         - 'at's my loyal little woman.

                        KAREN
         The critics thought so, the
         audiences certainly think so -
         packed houses, tickets for months
         in advance - I can't see that
         either of Lloyd's last two plays
         have hurt you any!

                        LLOYD
         Easy, now...

                        MARGO
                (grins)
         Relax, kid. It's only me and my big
         mouth...

                        KAREN
                (mollified)
         It's just that you get me so mad
         sometimes... of all the women in
         the world with nothing to complain
         about-

                        MARGO
                (dryly)
         Ain't it the truth?

                        KAREN
         Yes, it is! You're talented,
         famous, wealthy - people waiting
         around night after night just to
         see you, even in the wind and
         rain...

                        MARGO
         Autograph fiends! They're not
         people - those little beast who run
         in packs like coyotes-

                        KAREN
         They're your fans, your audience-

                        MARGO
         They're nobody's fans! They're
         juvenile delinquents, mental
         detectives, they're nobody's
         audience, they never see a play or
         a movie, even - they're never
         indoors long enough!

There is a pause. Lloyd applauds lightly.

                        KAREN
         Well... there's one indoors now.
         I've brought her back to see you.

                        MARGO
         You've what?

                        KAREN
                (in a whisper)
         She's just outside the door.

                        MARGO
                (to Birdie; also a
                 whisper)
         The heave-ho.

Birdie starts. Karen stops her. It's all in whisper, now,
until Eve comes in.

                        KAREN
         You can't put her out, I
         promised... Margo, you've got to
         see her, she worships you, it's
         like something out of a book-

                        LLOYD
         That book is out of print, Karen,
         those days are gone.
         Fans no longer pull the carriage
         through the streets - they tear off
         clothes and steal wrist watches...

                        KAREN
         If you'd only see her, you're her
         whole life - you must have spotted
         her by now, she's always there...

                        MARGO
         Kind of mousy trench coat and funny
         hat?
                (Karen nods)
         How could I miss her? Every night
         and matinee - well...

She looks to Birdie.

                        BIRDIE
         Once George Jessel played my
         hometown. For a girl, gettin' in to
         see him was easy. Gettin' out was
         the problem...

They all laugh. Karen goes to the door, opens it. Eve comes
in. Karen closes the door behind her. A moment.

                        EVE
                (simply)
         I thought you'd forgotten about me.

                        KAREN
         Not at all.
                (her arm through Eve's)
         Margo, this is Eve Harrington.

Margo changes swiftly into a first-lady-of-the-theater
manner.

                        MARGO
                (musically)
         How do you do, my dear.

                        BIRDIE
                (mutters)
         Oh, brother.

                        EVE
         Hello, Miss Channing.

                        KAREN
         My husband...

                        LLOYD
                (nicely)
         Hello, Miss Harrington.

                        EVE
         How do you do, Mr. Richards.

                        MARGO
                (graciously)
         And this is my good friend and
         companion, Miss Birdie Coonan.

                        BIRDIE
         Oh, brother.

                        MARGO
         Miss Coonan...

                        LLOYD
                (to Birdie)
         Oh brother what?

                        BIRDIE
         When she gets like this... all of a
         sudden she's playin' Hamlet's
         mother...

                        MARGO
                (quiet menace)
         I'm sure you must have things to do
         in the bathroom, Birdie dear.

                        BIRDIE
         If I haven't, I'll find something
         till you're normal.

She goes into the bathroom.

                 &

劇作分析練習(xí)



并不是所有的好萊塢敘事只會(huì)向普羅大眾宣傳它有些幼稚的普世價(jià)值。同樣是好萊塢電影，同樣是經(jīng)典的敘事模式，也會(huì)有大膽先鋒批判的故事，比方說這一部《彗星美人》。電影辛辣地描繪了一個(gè)野心家那令人膽戰(zhàn)心驚的發(fā)跡史。

影片采用倒敘手法將故事通過凱倫的旁白娓娓道來，影片的開頭并不是故事的開始，恰好是故事的結(jié)尾。第一個(gè)場(chǎng)景設(shè)在薩拉西頓戲劇的杰出成就獎(jiǎng)?lì)C獎(jiǎng)儀式的會(huì)場(chǎng)。第一個(gè)鏡頭由獎(jiǎng)杯的特寫開始。由此場(chǎng)景劇中所有人物一一登場(chǎng)。故事的主題也巧妙地暗含在第一個(gè)鏡頭中。臺(tái)上為伊娃頒獎(jiǎng)的頒獎(jiǎng)人不遺余力地贊揚(yáng)杰出的年輕演員伊娃，臺(tái)下的各個(gè)人物卻各有不同的反應(yīng)。頒獎(jiǎng)人的臺(tái)詞也別有一番設(shè)計(jì)，看過影片的觀眾再次回味時(shí)候構(gòu)成了巨大的反諷。借艾德生杜維特的口，將故事中的人物一一介紹，四歲便登上舞臺(tái)的天才演員瑪戈和因?yàn)檎煞虻脑虿胚M(jìn)入戲劇圈子的凱倫。為什么會(huì)是艾德生杜維特來介紹人物呢？看過電影才知道編劇的巧妙設(shè)計(jì)。艾德生杜維特這個(gè)人物在此片中充當(dāng)著“輸出者”的角色，他輸出的是影片的價(jià)值觀。由他來告訴觀眾在戲劇界、光鮮的明星圈子背后的故事。帶著迷人光環(huán)的獎(jiǎng)杯和鮮花中隱藏著的不為人知的勾當(dāng)和陰謀。導(dǎo)演要告訴我們名利背后的故事，片頭巧妙地暗示出《彗星美人》一片的主題。

第七分鐘，坐在會(huì)場(chǎng)的凱倫陷入對(duì)往昔的回憶，故事也真正開始，進(jìn)入故事的第一個(gè)段落，即熙德菲爾德所說的建置環(huán)節(jié)。凱倫在瑪戈化妝室的門口見到伊娃。伊娃最先是以一個(gè)瑪戈的瘋狂崇拜者身份出現(xiàn)。伊娃告訴凱倫瑪戈的每一場(chǎng)戲她都會(huì)去看，凱倫問她戲票是否太貴，而伊娃說站票還能支付。伊娃即是回答凱倫的提問，讓凱倫對(duì)其產(chǎn)生認(rèn)同，同時(shí)這些話也是講給觀眾聽的。觀眾也對(duì)伊娃產(chǎn)生了認(rèn)同，一個(gè)貧窮卻真誠的戲劇愛好者同時(shí)也是瑪戈的絕對(duì)崇拜者。這就為后來瑪戈收留伊娃在自己身邊這個(gè)情節(jié)變得合情合理。畢竟，這時(shí)候的伊娃是多么可愛和令人同情。
凱倫帶著伊娃去見瑪戈，領(lǐng)著伊娃經(jīng)過舞臺(tái)去到后臺(tái)，這時(shí)編劇就開始為影片埋下“種子”，伊娃一進(jìn)劇場(chǎng)，立刻自主地走到舞臺(tái)上看著出神地看著空空的觀眾席。并對(duì)凱倫說“你可以聞到刺鼻的味道，如同神奇的香水般。”這個(gè)小的情節(jié)是個(gè)伏筆，十分巧妙地揭示了伊娃的內(nèi)心真實(shí)想法：她向往的并不是瑪戈，而是這神奇的香水般的舞臺(tái)的味道。
凱倫并沒有立即帶伊娃見到瑪戈，而是在伊娃進(jìn)去之前對(duì)瑪戈有所展示，未見其人先聞其聲，在門外面的時(shí)候我們就聽見了瑪戈爽朗的大笑，從瑪戈的話語中我們看到一個(gè)直率，驕傲，霸道的大明星。而凱倫一見到瑪戈便與瑪戈為了一個(gè)不一致的觀點(diǎn)產(chǎn)生了小的摩擦。這一切都是為了后來的故事所做的鋪墊。
起初瑪戈不愿見伊娃，在凱倫的努力之下終于瑪戈做出了轉(zhuǎn)變，伊娃進(jìn)到了瑪戈的化妝間。如果說伊娃只是作為一個(gè)普通的觀眾見了自己心中夢(mèng)寐以求的大明星的話故事將在此打住。是伊娃令人同情的愛情故事打動(dòng)了所有的人包括觀眾在內(nèi)從而留在了瑪戈的身邊使得故事繼續(xù)前進(jìn)。這里編劇對(duì)真相進(jìn)行了省略，制造了一個(gè)假情節(jié)，觀眾和劇中人一道受到了伊娃的欺騙，認(rèn)為她是一個(gè)失去丈夫的對(duì)愛情堅(jiān)貞的可憐女人。這時(shí)候移情作用最終形成了，大家認(rèn)同了伊娃。
鋪墊部分交代了故事發(fā)生的背景，主要場(chǎng)景，主要人物的各個(gè)特點(diǎn)和處境，瑪戈是驕傲的大明星卻年紀(jì)不小了，伊娃年輕可憐對(duì)瑪戈真誠地崇拜。同時(shí)也埋下了故事發(fā)展下去的種子，凱倫對(duì)瑪戈的不可一世頗有意見對(duì)伊娃有著深深的同情。伊娃的真相此時(shí)被掩埋，隨著故事的發(fā)展才慢慢展現(xiàn)。
第27分鐘，瑪戈送走辛普森，伊娃正式進(jìn)入瑪戈的生活，情節(jié)點(diǎn)一發(fā)生。這時(shí)候鋪墊結(jié)束，進(jìn)入了劇情的發(fā)展階段。

第二階段主情節(jié)是伊娃為了實(shí)現(xiàn)野心的逐步行動(dòng)，副情節(jié)是瑪戈的轉(zhuǎn)變。
這個(gè)階段視點(diǎn)悄悄地發(fā)生了改變，由客觀視點(diǎn)逐漸變成瑪戈的視點(diǎn)，我們同瑪戈一道潛意識(shí)里開始發(fā)覺伊娃的不對(duì)勁，然而劇中其他人物并不知情。
瑪戈在一次謝幕之后發(fā)現(xiàn)了伊娃正拿著自己剛剛脫下來的戲服在自己身上比劃，并幻想自己站在舞臺(tái)之上向無數(shù)的觀眾謝幕。這個(gè)情節(jié)是一個(gè)典型的征兆，我們隱隱約約嗅到了某種味道，對(duì)，就是野心的味道。這種預(yù)兆氣氛慢慢擴(kuò)散，為后面沖突的爆發(fā)做著預(yù)備工作。
如果營造預(yù)兆氣氛有某種“統(tǒng)一性”，展現(xiàn)它的種種事件便有著“多樣性”。之后瑪戈在臥室與仆人的對(duì)話也是這多樣性其中之一。仆人看似粗野卻一語道出真諦：“就像她在研究你，就像在研究你的戲，做筆記，閱讀你的書，研究你如何走路，講話，吃東西，思考?！?br>當(dāng)伊娃穿上瑪戈的衣服，給辛普森打電話，等等一切之后瑪戈感覺到了來自伊娃的威脅。不可抗拒的矛盾終于在瑪戈和伊娃之間開始產(chǎn)生，伊娃代替瑪戈演了一場(chǎng)戲，瑪戈的情緒開始不受控制，由于自身性格所致開始與辛普森鬧矛盾，開始與每一個(gè)人鬧矛盾。
主線和副線是相互影響與糾纏的，伊娃的一步步行動(dòng)使瑪戈越來越情緒失控使得遭到大家的厭惡，瑪戈的情緒失控使得伊娃有機(jī)會(huì)實(shí)現(xiàn)她朝設(shè)定好的步驟走。
可以說是瑪戈的情緒失控也可以說是伊娃的計(jì)謀使得凱倫決定要懲罰瑪戈幫助伊娃而設(shè)置了汽車的故障。這是故事的情節(jié)點(diǎn)二。
這個(gè)情節(jié)點(diǎn)二使得主線副線兩條情節(jié)線有了新的走向，瑪戈意識(shí)到自己老了，應(yīng)該尋找新的生活，她在汽車上說道：“你為了爬得更快，而拋棄樓梯上的東西，忘了當(dāng)你又變回女人會(huì)再需要它們。不論喜歡不喜歡，每個(gè)女人的事業(yè)都會(huì)結(jié)束。成為一個(gè)女人?！爆敻昕谥兴f的樓梯上的東西應(yīng)該是指辛普森對(duì)她的愛情，屬于她自己而不是一個(gè)女明星的真實(shí)生活。明星不是長生不老的，她不能永遠(yuǎn)的活在虛幻中，總有一天要接受真實(shí)的生活。這促使了瑪戈同意了辛普森的求婚，決定過另外一種生活。她放下了與伊娃之間的爭斗。事實(shí)上從此刻起矛盾已經(jīng)開始要消失了，準(zhǔn)確地說瑪戈與伊娃之間的矛盾消失了。因?yàn)楝敻暌呀?jīng)看透了這一切。瑪戈這個(gè)人物從開始到現(xiàn)在發(fā)生了人物的轉(zhuǎn)變，這成為人物弧光。瑪戈的人物真相此刻展現(xiàn)出來。而瑪戈的轉(zhuǎn)變無疑是和主線伊娃的行動(dòng)息息相關(guān)的。情節(jié)點(diǎn)二完成了瑪戈的轉(zhuǎn)變同時(shí)也使伊娃的行動(dòng)越來越強(qiáng)，副線結(jié)束并不意味著主線的結(jié)束，伊娃還有更高的目標(biāo)等著她實(shí)現(xiàn)。
之所以說情節(jié)點(diǎn)二也推動(dòng)了主線的發(fā)展。伊娃因?yàn)槠嚨氖虑閺亩樌莩?，而且與影評(píng)人艾德生勾結(jié)在了一起。并且伊娃借汽車事件威脅凱倫從而得到新的角色最終拿到薩拉西頓戲劇的杰出成就獎(jiǎng)。
艾德生在這個(gè)段落出現(xiàn)并且成為很重要的一個(gè)人物，他是來揭示伊娃的真相的。在伊娃演完戲卸妝的時(shí)候艾德生與她有過簡短的對(duì)話。艾德生問伊娃是否在舒伯特劇院看過瑪戈的戲，伊娃想都沒想就回答是。這是個(gè)重要的情節(jié)，為后來艾德生揭開伊娃的秘密埋下伏筆也提供了令觀眾信服的證據(jù)。
伊娃威脅凱倫的情節(jié)成為故事的高潮，最終伊娃成功了，得到了她最開始所希翼的一切。但是除了這些，她的野心變本加厲，甚至試圖得到凱倫的丈夫。她果真成了無所不能的惡魔。但是艾德生的出現(xiàn)讓她終究不可能這樣為所欲為，因?yàn)樗俏ㄒ涣私馑^去，了解她秘密的人。艾德生對(duì)伊娃的解釋在故事的最后，我們終于看到了伊娃的真相。

故事本可以在此作結(jié)，但是高明的編劇在影片結(jié)尾安排了一個(gè)意味深長的人物，那就是等候在伊娃房間里的年輕女孩。這個(gè)結(jié)尾既不是封閉式結(jié)尾也不是開放式結(jié)尾，而是一個(gè)無限循環(huán)的結(jié)尾。伊娃回到房間，她已經(jīng)不是原來的伊娃了，可是鏡子中出現(xiàn)的女孩分明就是另外一個(gè)伊娃，這個(gè)年輕女孩形成了與伊娃的對(duì)應(yīng)。暗示著關(guān)于名利的爭奪將循環(huán)下去。而年輕女孩最后在很多面鏡子前穿著伊娃的衣服拿著伊娃的獎(jiǎng)杯幻想自己是萬眾矚目的大明星時(shí)與伊娃之前的所作所為如出一轍。多面鏡子映射出無數(shù)個(gè)年輕女孩的臉，暗示著無數(shù)個(gè)野心家內(nèi)心的欲望。也對(duì)這樣一個(gè)名利場(chǎng)的世界抱以嗤笑。