《军官与男孩》是一部由罗兰·克博施执导,马腾·斯密特 / 杰罗恩·克拉比 / 安德鲁·凯利主演的一部剧情 / 爱情 / 战争 / 同性类型的电影,文章吧小编精心整理的一些观众的影评,希望对大家能有帮助。
《军官与男孩》影评(一):军官和男孩的观后感
在这个世界上,什么是正常,什么是异类;什么是正确,什么是错误。因为不为常规伦理所接纳,就 要被抹煞?因为不属于人们约定俗成的概念,就要被否定?爱是什么,难道它仅仅只是上帝为人类繁衍包装的美丽华衣?如果爱是精神的宝石,为何要被人为的“传 统”所束缚?同样的两个生命,同样是两个独立的灵魂,互相吸引,又何错之有。
这个世界本就是多元多极化的。就像光与影,白昼与黑夜。莫不是我们承认了太阳,就要抛弃月亮?亦或有了黑与白,就不再需要灰色?
任何事物,都有它存在的价值。自然法则拥有最伟大不可抗拒的选择力,没有价值的于历史洪流中早已被淘汰,早就被抛弃。恰是因为这种维系有着莫大的生命力,才能坚持到如今。
为什么不能在给它仓卒的判定之前,好好思考审视它的全部。
爱是维系的一种,是人性最基本的互相依存的需要之一。人性中有自主与外界交互的本能,渴望认 识,也渴望被接受。在持续的进化中,精神世界的互动已超脱了物质世界的原始规则。爱情,可以不再为繁殖而生。生理与思维如果一定要联系在一起难道不可悲。 固然异性之间的结合可以创造更多的价值,但同性之间,也并不意味着就该掩埋在黑暗之中。 谁能说,生命从一开始就否定同性之间的永久相系?谁能裁定这暗流中深刻激烈的情感的生存资格?人类世界,正是因为有了凌驾于实体之上的精神,才得以洗练得如此这般璀璨华丽。 如果,我们能抱着平和理智的心,正视那些曾一直躲避的东西,会发现很多东西并不是那么不可接受。而那些确实黑暗的层面,也并非不可挽救。即使是地狱最深处的色彩,也可以有被光融合的可能。
我们在时间之河中跋涉前行,缓慢却坚定地成长。在到达挥洒恣意的境界之前,是不是应该先做到灵魂的坚强、心理的成熟与随和包涵。
《军官与男孩》影评(二):似是故人归
荷兰的电影还是第一次看,很和缓低沉的画面
像在讲述一个在记忆里存放了很久的老故事,想起那不曾归来过的故人.
还是二战背景时的故事,不过是纳粹那血红的万字旗落下后的事了.
加拿大的兵团进驻德国已被解放的小镇,在一大堆德语里听到英语我激动死了.
要说些什么呢?他还是一个小男孩,军官开着吉普车在他走的路上停停走走.
上车后猝不及防塞进嘴里的巧克力.
.........
为什么喜欢老照片呢,因为那些人那些事只存在过一次.
(军官有一种落拓的美感,他说you are really fucking special的时候口音很好听
《军官与男孩》影评(三):看起来很美
看过了电影,特别是那么多温情的影评。我急迫的想要知道,军官最后的结局。在网上找到了英文版本的原著,for a lost soldier,顿时所有关于这部电影的美好,荡然无存。
这是我引用的书评,和我的看法基本相同,男孩是被rape了,至少是molested,而军官,则是暴力和冷漠,绝不是电影中的美好。
Jeroen is 12 and a long way from home. Because of the Nazi occupation of Amsterdam, Jeroen’s mother has sent him to a remote area of the country to await liberation. Alone, frightened, and feeling less than welcome by his hosts, Jeroen explores the countryside, and after a while begins to make friends. Jan, his hosts’ older son, stirs emotions in Jeroen that he is unable to explain. He enjoys watching the older boy swim and play, but becomes frightened when Jan wants to show him how he has matured lately.
Just as Jeroen is starting to fit-in, a most remarkable event occurs. Allied forces roll into town and the Germans are on the run. Everyone, including Jeroen, is fascinated by the soldiers and crowd around to get a better look. One of the soldiers, however, has his eye on Jeroen. Walt attempts to develop a friendship with young Jeroen, but the boy is very frightened. Through a series of encounters, the two become tentative friends. Each time they meet, Walt takes their relationship a little further, until finally on one such meeting, he has sex with Jeroen. Jeroen, a little squeamish to begin with, is terrified.
Eventually, the relationship becomes a full-fledged affair, with Walt and Jeroen meeting frequently for sex. Each of the encounters, though, is physically and emotionally painful for Jeroen. Walt is abusive in his treatment of the young boy. Nevertheless, Jeroen becomes infatuated with the soldier and is shocked one morning to find that the army has pulled-out of the little town and disappeared. Emotionally devastated, Jeroen can not understand why Walt left without saying anything. His only proof of the relationship is emotional and physical scares, and a small photograph of the young soldier.
Upon returning to Amsterdam, Jeroen searches in vain for Walt, but with no success. Once there, he begins the process of healing but he never forgets Walt. A
This is a autobiography of Rudi Van Dantzig’s early life. Rudi was a dancer in Europe and became quite popular. He looks back at this part of his life partly with a longing and partly with relief.
My Notes
Clearly this book is not for everyone. Young Jeroen is such a moving character that reading the story, and understanding his emotional state at the time, becomes draining. Of course, Jeroen was sexually molested, but he looks back at the events, not with hatred or spite, but with tenderness. I found it easy to understand his motivations, emotions, and actions during those years, but I find it difficult to understand his treatment of these events now, as an adult.
If you have seen the film, you will be shocked at the character of Walt in the book. In the film, the relationship is touching and moving despite the eight or nine years age difference. There is a loving relationship nevertheless. In the book, Walt is clearly a predator and Jeroen is his victim. I highly recommend reading this book, but I warn you it will get to you and you will want to reach through the pages and strangle Walt.
(http://www.oocities.org/soho/den/8979/vandantzig_rudi.html)
看书吧,会有个不同的视角。
再给大家发个原著作者,也就是小男孩原型的背景故事吧,我想说,他过得应该很幸福。现实生活中,他事业有成,是荷兰最著名、也是贡献卓著的编舞家。他也真的是同志,有着一个life partner,也是志同道合舞蹈界人士。现在原型人物的小男孩,已经在2012年过世,我很庆幸,他,真正存在过,活过。
Rudi van Dantzig
Rudi van Dantzig, the choreographer, who has died aged 78, was a pivotal figure in the rise to world renown of Dutch ballet in the past half century.
Van Dantzig described himself as “a sort of bastard between classical ballet and modern”, and his works could be more interesting for their intentions than their results. However, his boldness in evoking the anguished isolation of a homosexual boy in a ballet in 1965 won him a global profile and the key support of Rudolf Nureyev. This led to commissions from the Royal Ballet and other leading international companies.
His work captured the mood of the 1960s and became a template for modern ballet that offered a powerful European alternative to the abstract modernists of New York dance. Today, the assumption that the Dutch led mainland Europe in ballet and dance is largely due to van Dantzig.
Rudi van Dantzig was born in Amsterdam on August 4 1933 . It was not until he saw The Red Shoes on its release in 1948 that he knew his vocation (he later claimed to have watched the film nearly 50 times). He started dance lessons at 16, and approached Sonia Gaskell, a Lithuanian-Dutch dancer who was working to generate a Dutch ballet tradition by establishing professional companies and schools.
In 1952, because she was short of boys, she took the raw 18-year old into Ballet Recital, a company from which she would establish the Dutch National Ballet within a decade. With Gaskell’s encouragement, in 1955 van Dantzig choreographed the first of his 51 ballets, Night Island, using music by Debussy .
As a homosexual with an active political sensibility (both his parents were dedicated socialists), he felt acutely the intolerance of the times, and this became a major theme in his ballets and writings.(作为一名拥有政治敏感性的同志(他的妇女都是坚定的社会主义者),他认识到这个时代的狭隘和缺乏宽容,这成为他编舞和写作的主题之一。)
In 1965 he made his breakthrough with Monument for a Dead Boy, showing an adolescent destroyed by his unacceptable sexuality. It was inspired by the brief life of the influential Dutch homosexual poet Hans Lodeizen. The work, set to experimental electronic music by Jan Boerman, was so powerful that Nureyev asked to perform it with Dutch National Ballet.
ureyev, who was then feeling underappreciated at the Royal Ballet, was searching to cross over into a modern idiom, but he had considerable difficulty understanding van Dantzig’s modern movement and convoluted narrative. At the same time, he found the choreographer’s blunt amiability refreshing compared with the sycophancy which he usually encountered, and he mastered the idiom sufficiently to impress the Dutch.
The Royal Ballet’s director, the classical choreographer Sir Frederick Ashton, then commissioned van Dantzig to create The Ropes of Time for Nureyev and Monica Mason (the Royal Ballet’s present director). The piece had Nureyev as an existential traveller writhing in pas de deux with Death and Life (Mason and Diana Vere). Originally the Life figure was intended to be the Royal Ballet’s star ballerina Antoinette Sibley, but she fell into depression as she tried to master the different plastique and withdrew.
Though the work received ovations from Nureyev’s adoring public on its premiere in 1970, it was found too self-consciously tortured by critics ; and on the company’s subsequent tour to the United States it was panned. Van Dantzig himself was unhappy with Nureyev’s attempts at his choreographic style, saying: “It is like somebody who speaks a different language and you can always hear the mother tongue underneath.” But he still made two further ballets for Nureyev in the late 1970s, Blown in a Gentle Wind and About a Dark House — the second a psychosexual melodrama in which Nureyev intruded unwisely upon a dinner party and was stripped by the guests.
In 1969 van Dantzig had succeeded Gaskell as artistic director of the Dutch National Ballet, first as co-director, then, from 1971, as sole director. For the next 20 years he refined the large and somewhat chaotic mission of the DNB by focusing on 20th-century classicists, primarily George Balanchine and Frederick Ashton, and also on new contemporary ballets created by himself, Hans van Manen and Toer van Schayk .
This trio made The Netherlands a new powerhouse of modern ballet choreography to the European taste, but there was no great enthusiasm for it in Britain. Attempts to open British eyes to the much-talked-about Dutch dawn by both Ashton and his successor, Kenneth MacMillan, fell flat, largely because the British preferred MacMillan and Ashton.
For many of his ballets, van Dantzig collaborated with van Schayk, an outstanding dancer and competent designer, who was also his partner.(很多的芭蕾舞作品,他都是和van Schayk合作完成的。后者是一名杰出的舞者、设计师,也是前者的生活伴侣) Though he created modern versions of Romeo and Juliet (1967) and Swan Lake (1988), van Dantzig was particularly interested in one-act creations to a wide range of 20th-century composers, among them Richard Strauss for Four Last Songs (1977); Debussy for Night Island (1955); Schoenberg for Gesang der Jünglinge (1977); and Webern for Moments (1988) .
Retiring as director in 1991 after 20 years, van Dantzig continued as the company’s resident choreographer for a further three years, finally bowing out with his 50th creation in 1994 (though he returned to Dutch National Ballet in 2002 to create Lommer). He was succeeded as director at the DNB by the former Royal Ballet star Wayne Eagling, now English National Ballet’s director.
An accomplished writer, van Dantzig was acclaimed for his debut novel To a Lost Soldier (1986), which dealt with his awakening to his homosexuality as a child evacuated in the war, and a sexual relationship with a passing soldier. In 1993 it was made into a film in Holland, and it was translated into English in 1996. He also wrote books about Nureyev (Remembering Nureyev: the Trail of a Comet), and the homosexual Dutch artist and anti-Nazi resistance fighter Willem Arondéus.
Rudi van Dantzig, born August 4 1933, died January 19 2012
《军官与男孩》影评(四):Love is Love
非常非常美
也许军官只是男孩生命中的过客 但是他又是给予男孩真正生命的人
从第一次对话 接吻 隐晦的床戏 都是那么完美充满了爱
最后的结局我们谁也不知道
也许他去找了他 也许根本没有
但都不重要了
我相信他们在天堂已重聚
Chocolate
Kiss
MakeLove
:以前总觉得这是部悲剧 仅仅因为他们没有在一起 但是在我们着看似短暂确又漫长的一生中 又有谁能真的 在你内心留下如此深刻的爱 能改变你的一生的爱呢···
男孩是幸福的 他爱 他被爱 并且守护着这份爱长达一生
之PS;关乎于年龄 男孩应该是12岁左右吧 之前看很多评论都说了年龄的问题 恋童 犯罪 等等等等
军官 我不知道他有多大 但那个年代入伍当兵的也都是孩子 无非军官比男孩大10多岁
如果男孩是在22岁的时候遇到30多岁的军官 难道他们就不会相爱了么? 又或者这样的年龄就变成理所当然 顺理成章 就没有那些所谓的恋童 犯罪等 罪恶的帽子了吧
命运提前了一些时间把你的王子 带到了你的面前而已 所以那些觉得是犯罪是罪恶的人请闭嘴吧!
军官爱上了这个叫Jeroen的男人 虽然他那年12岁还是个男孩
love is love
love is just love
《军官与男孩》影评(五):有的人一旦住进少年的心,就......
For a lost solider,从影片英文名字看,这是一曲记忆挽歌,在人到中年时寻找的一份最初的情感启蒙。单单这个主题就会触动很多人的心灵,一如西西里的美丽传说,总有一个人在不经意间走进少年的心,然后一辈子都留在那里,成为青春的一抹暖色。
爱极了片中两人互相听不懂的对话,这时动作成了情感的代言,开车追逐中的欲说还休,教堂对视中的此处无声,湿地上的木头人游戏,而离别夜晚的那段对话,看的最让人心痛,沃尔特句句临别肺腑,杨鲁却依然不自知,日后他该是怎样的懊悔。
但他没有忘记沃尔特,尽管口袋里的照片洗成了烂纸,被雷击伤了手铭牌也没有拿到,但他记住了相见那晚的舞蹈,他抱着他,一种踏实的温暖,记住了两个人在一起的那些瞬间。他缝的扣子,曝光了的胶卷,巧克力的味道,私密时的时光...
越是美好回忆,日后想起越会让人痛苦,因为永远也回不去了,lost solider一旦离开,便是永不相见,你只能在脑海里一遍遍重现,不断完美这段回忆,而粉饰过后,痛苦也随之加倍。杨鲁在30年后终于无法承受怀旧之重,想要通过舞蹈重现少年杨鲁之烦恼,这是一种宣泄,也是一种救赎,穿越记忆之海,消弥这段遗憾,于是出现了少年杨鲁与中年杨鲁的几段对话,第一段带我们回到记忆中,第二段显示了杨鲁对军官的复杂之情,中年杨鲁说爸爸没说过要寄照片,少年杨鲁说,是的,是我要的,但我也想忘了它,中年杨鲁说你知道这是我那段回忆唯一的照片。想忘终不舍,只因那个人已扎根心底,难以磨灭。
多年后,曝光的胶卷终于洗出来了,有沃尔特的军队编号,杨鲁会去找他吗?再见也许不如怀念吧,怀旧总是这样的,带着遗憾终为最美。
《军官与男孩》影评(六):一段回忆能够停留多久
凌晨看完这部电影就想写些什么,因为各种不便,就拖到了现在。
我发现我对电影的记忆越来越稀薄,似乎唯有写点什么东西,才能将那些影象和不可复刻的感觉留得长久一些。
说实话,我看这部电影的时候是拖动了进度条的。听不懂的语言加剧了我的头痛,更何况这是一部92年的电影,画质并不清晰,眼睛也看得很难受。可我还是坚持着看完了,原因有二,一是我骨子里的军人情结,二是我记挂这部电影好久了,那种渴望观看的感觉是很难拒绝的。
当我看见军官身穿制服,戴着墨镜,朝男孩走来,霎时间,黯淡老旧的画面就像被点亮了一般。军官流利爽脆的英语,夹杂着男孩绕舌颤喉的复杂音节,竟然有一种别样的和谐与美感。我一直认为,一部好的电影,可以让你在看完之后闭上眼睛回忆起它一帧一帧的画面。现在,时隔不久,我闭上眼睛,能记起的有这样一些:男孩与军官在音乐声中跳舞,两人开着吉普车前前后后地来回,男孩伏在床上军官倾下身耳语“you are my baby”,军官离开驻地男孩拼命地找寻却已是人去楼空。
其他的情景也许都只是浅浅掠过,而那一幕幕,却是刻印在心里。
他们在一起的日子是纯粹又美好的,也正因此,分离更加无奈悲哀。
当男孩骑着单车,不顾一切地去他和军官拥有共同回忆的每个地方寻觅,却一无所获。我想,我能理解他的无助,我也能懂得他的执着。好比在你青葱岁月留下惊鸿一瞥的少年,多年以后与你在一个全不相干的地方重逢。你认出来牵着妻子抱着孩子的他,却不知道他有没有认出你。擦肩而过的时候,留下一个礼貌客套的浅笑,即是给某段珍贵回忆的唯一留念。谁都无法还原,你记忆里的当年的他。Glee当中,Santanna眼泛泪光地唱着:Children get older,I'm older too。当你不能拥有一个人,当你不能朝朝暮暮与之相处,留在你内心深处的,也只是当年的一个人。或许是担心连这份回忆也留不住,男孩急切地寻找一切军官留下的痕迹,寻找他生命中最美丽的一抹色彩。
很多年后,男孩长成了男人,满脸胡须,高大健壮。他站在船头,回忆往事的那一刻,我的眼泪忽然就落了下来。且不谈军官那时是否安好,即使他还在人世,只怕也是须发尽白,老态龙钟。而男孩的回忆里,他始终是那个制服笔挺,意气风发,潇洒迷人的男子。谁又知道,他爱的是不是男孩少年时那股青涩娇弱,那种淡淡的忧郁呢。多么让人无能为力,我们用尽力气在心里刻下当年种种,沉溺于当年爱的那个人,却对世事变迁毫无办法。既不能找回当年的自己,也不能寻觅当年的爱人。
然而,回忆的奇妙就在于,纵使无法再现,却也不能割舍。
一段回忆能够停留多久?
有时,那回忆不值一提,只有短短几天。
有时,那回忆无甚大事,只有短短几月。
有时,那回忆深刻难忘,停留了十几年的时间。
有时,那回忆是一生一次的不可复制的明亮色彩,足以被铭记一生。
可是,还有一些回忆,越是想忘,越是深入骨髓。我们可以选择很多事,可以拒绝很多事,唯有面对回忆,我们不能自如地选择记住还是忘怀。
庆幸的是,当男孩面临这样的问题,他给出的答案是:不曾忘记,依然铭记。
一段回忆能够停留多久?在《军官与男孩》里,它得到了永生。
《军官与男孩》影评(七):失去与得到
看了军官与男孩,心中被惆怅塞得满满的,有种一抒胸臆的想法。
电影中的军官Walt直到影片开始半个小时后才出现。然后是淡淡的欢乐淡淡的爱。直到Walt快要走了,都是克制而含蓄的。之后惆怅就像一片雾气,慢慢升腾,慢慢弥散。
其实,分别是一件好事。所有的人都知道他们注定分别,即使把故事放在现在也是一样。所以Walt在没有见Jeroen最后一面中悄然离去反而更好。不是吗?当Jeroen的继父说出那句——我们这里还不习惯这个——时,一切就已然注定了。唯一可以做的,是深深留住那份爱,将它化作是上天的恩赐。
影片译成《正太的成人礼》有几分味道。虽然Jeroen最后和Walt远隔重洋,但他收得到了战时最纯真的礼物。我们也在不断的长大,也在不断地失去与获得。回头检视,金钱、名声往往不如我们想象中那么重要,唯有爱能一直温暖我们,让我们变得和我们的思想一样大。就像Jeroen,他成长为一个舞蹈大师,用艺术来表达爱。
忽然想到了林语堂《中国传奇》中《定婚店》里月下老人讲的话:”红线一结好——我总是结的很牢固的——谁也再解不开。也许一个生在穷人家,一个生在富人家,两家也许山南海北,相隔千里,也许有世仇,可是男女两人总是结为夫妇,姻缘总会成就的。一切由天定,半点不由人哪。“
《军官与男孩》影评(八):在心上,即使不在身旁
反复看了十多遍,每一遍都比上一次感人。
看着他们的初遇,
这是被送来抚养的孩子,美丽的,羞涩的,有着小小的自闭。
walt第一次试图搭讪但是小男孩走开。
然后是那个美好的跳舞,抛接~~~
再来是吉普车那段,车上介绍名字的时候,两个人温馨的互动。
可惜语言不通,walt第二次才发准了小男孩的名字。
接下来,就是一段田园般的生活,军官喃喃说着自己的经历,两个人一起看雨,去海里查看飞机残骸
听walt说着:you are my prince, i love you , you are mine. 他们分吃着巧克力拥吻....
walt 像个小孩一样陪着他手舞足蹈...,让人几乎都要以为,这样的小幸福可以一直下去。
可是终究,this is reality, 战争结束,士兵要离开。
我以为,离别最是伤感,但是我错了,更伤感的是,连离别也没有。
那天晚上他向以前一样搭着他的肩膀,夜色里的最后一瞥,就是永别。
怎么可以,他们都没有好好说一声再见,
怎么可以,连散场的拥抱都没有。
那个人,就这样出现,用他的温柔体贴陪他一段路,给他一份爱,
留下一串刻着名字的标牌,一个告诉他让他当做自己的稻草人,
然后再深深的把自己刻在了男孩心上。
walt 1945.
我曾对这样的分离无法释怀,总觉得不是大团圆。
直到有一天,我也遇到我的walt,那个人,出现在还是丑小鸭的我的身边,用自己的温柔和体贴,陪了我一段路,然后,他回到茫茫人海里,再无可寻...
即使是一小段路,我也感谢上帝,这也是最美好的结局。
就像《小王子》里的狐狸说的,驯养我吧,这样原本没有意义的麦子的金色,就会因为你的金发而不同,我看到麦子,就会联想到你。
30年很长,但是walt 留给男孩的,还有巧克力,可乐,还有那影响他一生的舞蹈。
感谢上帝,让我们遇到那个人,在心上,即使不在身旁。
《军官与男孩》影评(九):浓浓的文艺片气息,冷门欧洲片,怀旧十足
在我看来,不能单纯以GAY来看待这部片。
影片充满欧洲文艺片的气息,悠长却不冗长,让人能慢慢看而不觉烦。
虽然影片到后半部男二主才上镜,但前半部分却也很好地渲染了气氛。沃特昏黄的房间,加上画质有限的原因,我总感觉自己是不是在看80年代的老港片~非常曼妙,亦非常怀旧。
我们要注意到,这两个男人之间的奇特美妙的情谊,是放在战争这个特殊环境里的。硝烟漫起,无情的战火让欧陆满目苍夷,人与人之间也变得更为相互依靠。沃特与杨鲁的情谊,在那个硝烟四起的时候也显得弥足珍贵。
或许会有人说军官侵犯男童。各有各的看法,对这个我本人表示这些是戏剧需要,我们也就不追究那么多了(不过听说是真实故事改编的~)
本人忘了第几次看这部片子了,后几次看也已没有起初看的那么有兴致了,但心还是为一些情节颤动了起来。跳舞,巧克力,去看飞机,开车……但是到了最后都剩下些什么?
故事里,杨鲁有过那些美好的回忆,但是真正见证过那些美好情感的东西却烟消云散,到最后只剩下军用线缝的纽扣,照片,还有那副太阳镜,让杨鲁时隔多年还能幸运地透过自己心爱的军官的眼镜看看这个变化着的世界的美好与不易。
刚才看见有人在评论电影里的隐喻意象,就觉得好厉害,因为本人看电影从来都是看剧情而不去深层面分析的,比如说道枪,说是性的隐喻,军官用枪打破禁地牌,杨鲁最后把枪弄掉之类的什么都隐藏什么意思,还有巧克力……不过本人刚刚看了以后就注意那架海中的飞机,杨鲁发现飞机,跑进湍急的海水中想过去看看,接着和让一起去看,再接着是和沃特,最后是飞机被拆了(不过没全拆好像)。我想,飞机可能意味着杨鲁会和军有关的人有关系,而飞机拆走了就说明缘分到了。不知道有没有同学注意到导演在这里是想要表达什么呢?
《军官与男孩》影评(十):一直淡淡地开始,又淡淡地结束
同志片要想拍得好就应该拍到一开始让人看不出是同志片,如果拍到像《绝不后悔》那样看了就肯定会后悔,今天的《军官和男孩》的开头至少不会让人有想入非非的胡思乱想,合拍的音乐,从一个舞蹈家对学生们的指导进入,再挖掘到他不能言明的表达在这支舞里的感情。英文名《For A Lost Soldier》,也不知道谁翻译的军官和男孩,毁了这个原本好听的名字!但是,也不知道是谁说的这部电影很纯洁,为什么有时候看起来和《战时》的感觉有点像,都要莫名其妙地出现裸体要问你有没有勃起过,表现情窦初开也不一定要这样吧?那个时候的电影啊……然后战争结束军官(沃尔特)看见男孩(杨鲁)就看上了,这个男孩也看了他,啊,虽然这是可能的,但是……有时候觉得,恋人就算不说话也很美好,不像军官和男孩,语言不通,自说自话,却还是能微笑地看着对方,就像两人在舞会后的教堂里跳着有点儿憋脚的舞,就像军官在路上开着车跟着男孩,男孩不知何意而躲避,军官开来倒去跟着,就像在草坪上跟着对方走几步停一下,走几步停一下,一起傻傻地去做很多事。没有激烈的言语和情节,没有争吵或大声的喧哗,一直淡淡地开始,又淡淡地结束,除了钢琴,大多是舒缓的弦乐,让我想起音乐剧《猫》的感觉。就好像只是一个人在回头看看过去,在当年的教堂前在当年回家的海船上遇见当年的自己再问他些自己也不确定的事,淡淡的,那时的忧伤,现时再想起,又能怎样。如果问我要不要推荐别人看,呵呵,有缘人再看吧。就是结尾时不太明白,洗出了两张大照片,底下那张是当年挂在稻草人上的项链,但又代表什么呢,难道代表可以找到他?唉啊,不明白。