《阿伯丁的最后之旅》是一部由Hans Petter Moland执导，斯特兰·斯卡斯加德 / 简·安德森 / 琳娜·海蒂主演的一部剧情类型的电影，特精心从网络上整理的一些观众的影评，希望对大家能有帮助。

　　《阿伯丁的最后之旅》精选点评：

　　●斯特兰·斯卡斯加德

　　●为狠而狠，为残酷而残酷，为动情而动情，为圆满而圆满。爸爸形象塑造失败，人物都硬邦邦的，编的痕迹太重，七荤八素都往里塞。写极端不正常的人容易简单化，不如拍成类型片。

　　●这个音乐是原创的吗？很好听，但总觉得有点耳熟

　　●

　　●2019225 配乐的空灵让这场赤裸裸的、抛开“道德”的父女修复之旅变成了一个北欧式童话。

　　●英國電影神馬的。。。

　　●papa,我爱你

　　●一场心灵的救赎之旅

　　●又名<跟忧伤跳舞>...

　　●不动声色地感动

　　《阿伯丁的最后之旅》影评(一)：說距離

　　在光南用不到『70元』的主婦價格，買到的好片：【跟憂傷跳舞】（Aberdeen不曉得這是什麼文...)，是一部挪威色系的片子，在家裡窩在榻榻米上看著，就會想喔，台灣人的家人之間也有很獨特的愛的方式，可是每一次台灣的導演好像都會把那種很貼近的關係拍得很狗血或是疏離，可是我在看這個片子，看到他們可以把人與人之間的距離，疏離又貼近，貼近又不敢靠近或是表達，說得那麼清楚有溫度卻不灑狗血令人感到做作，覺得實在非常厲害。

　　明明台灣就不是一個那麼疏離的地方，為什麼電影呈現的現況都是如此？

　　*******

　　「她真的不用看醫生？」

　　「她怕看醫生。」

　　「你怎麼知道？」

　　「她跟你一樣，害怕真實的事物」

　　～跟憂傷跳舞。

　　這也可以算是一部公路電影吧，在一部車子裡一條公路上的故事。

　　有好多場景都非常喜歡，從挪威到英國的路上，湖邊那一段，冰天雪地抬頭看見馴鹿，湖邊脫掉衣服處理嘔吐物那一段，也覺得愀人，因為她面對著冰涼的湖水不敢下水，因為她不會游泳，她說的是父親的缺席，......這一段路上真是艱辛。。。

　　總之，就是很好看的片子喔。。。

　　《阿伯丁的最后之旅》影评(二)：观影之五：从《阿拉丁的最后之旅》到《意大利式结婚》

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　　可能没有哪部电影中的父亲，比这部英国影片《阿拉丁的最后之旅》（挪威导演汉斯·皮特·莫朗执导）更让人绝望的了。

　　看看那个酗酒成瘾的父亲，被女儿拉着从挪威出发，本想乘飞机去英国看重病的母亲，没想到机检人员以其父喝醉为由拒绝登机，女儿只得驾车到南部码头坐船到英国，因而阿拉丁，好似一个不可能到达的“神话圣地”，一路波折不断。

　　老父也丢尽了女儿的脸，总在公共场所撒尿，烂醉如泥，对女儿的劝说无动于衷，让做律师的女儿，无法忍受，且想起十二岁所遭受的失贞记忆。一切是如此的痛苦和无法控制其父的自残行为，以至他偷了女儿的钱包，被一群流氓倒着啤酒在头上戏弄。

　　女儿赶来被流氓毒打，落荒而逃，在见到重病的母亲后，一切还远没结束。其实暴躁的女儿与无可救药的父亲，天然的一脉相承又难以救赎，终于被警方查有吸毒和贩毒的事实。

　　那一刻，只有父亲指着警方手中的“毒品”说，“那是我的”，才感到一丝难以言说的揪心和郁闷。最后女儿到监狱去看父亲，他让女儿像小时一样双脚踩在他的脚背上，跳起舞来。如此动听的歌声、如此动容的场景，掩不住人世间亲情的愁肠、无奈和悲哀。

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　　意大利电影《意大利式离婚》，拍于1961年，大明星马塞罗・马斯托安尼出演男主角。故事设计巧妙，天衣无缝。整个故事，对应了爱情的末路，令人厌倦的气息。身为西西里没落贵族的洁法洛男爵，对现在的胖妻罗沙莉愈来愈感到厌恶，同时发现其亮丽的表妹安琪对他倾心如水，这使他情思翻涌。

　　为了达到与表妹结合的目的，迫于当时意大利法律不允许离婚的无奈现实，因而他想出一个个杀妻妙计，最后他选择了用妻子以前的情人关系，千方百计制造其妻红杏出墙的的机会，伺机达到杀妻的目的。

　　这个过程中，他借用录音机窃听以掌控动向，虽历经曲折，家人屡遭连累，毕竟他达成了离婚的计划。在当时极重体面的社会情形下，虽然他杀了背叛他的妻子，但对他的判刑比较轻，只判了一年多就出了狱，自然他欢天喜地，对欢迎他的亲人，他也是轻淡带过，直奔最后一个欢迎者——他朝思暮想的表妹。

　　真佩服导演的创作力，细心的人就会发现其中的隐含和变数。果不其然，虽然他们结了婚，一派喜庆气氛，男爵也沉浸在完美计划胜利的喜悦当中。他哪想到，就在海上度假的游轮上，身为妻子的表妹，一边亲吻着船舷上的老公，一边伸出脚磨蹭掌舵的英俊小伙，紧紧勾在一起，仿佛男爵之前导演的好戏正被表妹一步步实施和重演。

　　多么滑稽又残酷的人生。难道说爱情的末路就真的是喜新厌旧，或者说爱情本就无法恒久，只有短暂的愉悦和无尽的忍耐，唯有一个“新”字才能罢休。生命想来也是如此的空幻和无聊。

　　2005.5.2

　　《阿伯丁的最后之旅》影评(三)：Wild Booze and Drugs Make Hard Lives Harder

　　http://movies.nytimes.com/movie/review？res=980CE3DD153EF934A2575BC0A9679C8B63

　　y STEPHEN HOLDEN

　　ublished: August 17, 2001

　　Why is it that even the most high-minded films have tended to romanticize acute alcoholism？ Is it the very nature of movies to glamorize such extreme behavior？ Even the much-admired ''Leaving Las Vegas,'' whose central character drinks himself to death, invests its suicidal protagonist with the heroic aura of a sacrificial victim whose flame burns a little more brightly than everyone else's. That 1995 movie was only the latest manifestation of what might be called the ''Under the Volcano'' syndrome (from Malcolm Lowry's autobiographical novel), in which marathon boozing assumes a Wagnerian grandiosity.

　　One of the strengths of Hans Petter Moland's small, beautifully acted film ''Aberdeen'' is its refusal to give its characters' substance abuse the faintest patina of hipness. The movie follows the increasingly chaotic journey of Tomas (Stellan Skarsgard), an alcoholic retired Norwegian oil-rig worker, and his coke-snorting daughter, Kaisa (Lena Headey), from Oslo to the deathbed of his estranged wife, Helen (Charlotte Rampling), in Aberdeen, Scotland.

　　efore dying, Helen (whom Ms. Rampling in her brief but memorable appearances imbues with a flinty, stoic farsightedness) has also arranged for Tomas to be accepted into an experimental rehab program, which he shows few signs of wanting to join.

　　''Aberdeen'' is this director's second film in which Mr. Skarsgard (still best known for Lars von Trier's ''Breaking the Waves'') portrays a drunk. In the 1996 Hemingway-esque drama ''Zero Kelvin'' he created an ugly portrait of a heavy-drinking, macho trapper in Greenland in the 1920's. Here he is even better.

　　Clenched and brooding, churning with rage and self-loathing, Tomas is one of the most realistic (and infuriating) drunks ever to reach the screen. Far from the lurching wild-eyed maniac of movie cliché, he is a furtive, cunning animal who grows meaner and more sullen the more booze he consumes. During his occasional attempts to remain sober, you can almost smell the sour sweat of his rising panic and desperation.

　　In the film's most disgusting moment Tomas vomits on his daughter while she is driving. In another, he keels over while urinating in a flower bed and is stopped by the police. Later on he is humiliated by members of a street gang who turn him into a slobbering dog begging for a gulp of their beer.

　　In a performance that matches Mr. Skarsgard's in depth, Ms. Headey's Kaisa is a high-strung chip off the old block. Especially when high on coke, she has a very short fuse. When an airline clerk refuses to allow Tomas to board a plane, Kaisa goes ballistic, spewing a stream of abuse that nearly lands her in jail. She is one of those seemingly fearless people whom you initially admire for their spunk until it becomes clear they don't know when to stop.

　　The perfectly meshed lead performances evoke an intimacy that makes you squirm, especially when Kaisa, in one of her typically boundary-pushing gambits, imagines that Tomas is not really her father and comes on to him sexually in a half-joking way. Even Tomas in his semi-inebriated state is appalled.

　　Although ''Aberdeen,'' which opens today at Cinema Village, is a ferociously observant study of two characters, the story surrounding them is rambling and unstructured. As the pair continue their increasingly bumpy journey from Norway to Scotland, the movie throws in flashbacks, unprepared dramatic plot twists and even a heavy-handed symbol or two to provide some narrative texture.

　　The question of Kaisa's actual paternity is raised out of the blue, late in the movie, and then just as quickly resolved. Even later in the film a hit-and-run accident involving one of the street toughs who tormented Tomas yanks ''Aberdeen'' haywire. Too much is made of a clown nose that Tomas gave his daughter as a child and that conveniently turns up late in their travels.

　　In giving these unstable characters someone to bounce off, the movie provides Clive (Ian Hart), a sensible, good-hearted trucker whom Kaisa flags down when their car blows a tire. When the sexually freewheeling Kaisa puts the moves on Clive, he blithely warns her that if she wants bad sex, she has come to the right man. Of course Clive turns out not to be bad at all. And when Kaisa feels a lingering pang of post-coital attachment, the movie flirts with sentimentality by suggesting he might be her prince charming.

　　ut in the end this hardheaded little movie doesn't succumb to its mushier impulses. That's why its suggestion rings true that the strained father-daughter bond is ultimately strengthened by their shared misadventures.

　　ABERDEEN

　　Directed by Hans Petter Moland; written by Mr. Moland and Kristin Amundsen; director of photography, Philip Ogaard; edited by Sophie Hesselberg; music by Zbigniew Preisner; production designer, Januz Sosnowski; produced by Tom Remlov and Peter J. Borgli; released by First Run Features. At Cinema Village, 22 East 12th Street, Greenwich Village. Running time: 106 minutes. This film is not rated.

　　WITH: Stellan Skarsgard (Tomas), Lena Headey (Kaisa), Ian Hart (Clive) and Charlotte Rampling (Helen).