婚姻是圍城。
不幸的婚姻是令人崩潰的監獄。
little children是這樣，revolutionary road是這樣，american beauty亦如此 。無論kate winslet, 還是kevin spacey，身上都有一種氣質--沉靜中蘊藏的極爲危險和爆破的張力。kate winslet有一張天賜的完美面龐，美得攝人心魄。如此的美人坐守監獄無疑令人同情，所以kate扮演的角色相當有説服力。
little children中有一段幾個女人組成的讀書俱樂部討論《包法麗夫人》，一個家庭婦女毫不留情地說Emma之所以背叛丈夫包法麗先生是因爲她天生就是個蕩婦。另外的女人不同意她的觀點，轉向研究文學的Sarah/ kate wislet,於是就有了這樣的話:

No, no, no. It's not the cheating. It's the hunger - the hunger for an alternative and the refusal to accept a life of unhappiness.
當然,研究文學到博士快畢業的sarah還是僅僅停留在了理論上,現實中,她毫不例外地陷入了對丈夫不忠地婚外情中。當做奶爸很久的brad偷看她在書上的highlight時，很快就意識到這個女人的内心是多麽期盼一場狂風暴雨--my love is fever，情理之中的，sarah最終沒有能夠保持住她最初渴望的那種純潔的友誼。
這種對現實的不滿和對窒息生活的怨憤在revolutionary road裏就表現出夫妻倆人決定去巴黎。結果都是一樣的，期待的改變，或者說對婚姻和生活的變革失敗告終--sarah決定回家，brad在受傷后想到的是給妻子報信；april 在墮胎中結束了自己無望的生命，留下丈夫繼續生活在充滿諷刺意味的revolutionary road.
比較kate winslet 的這幾套戯，演技都是沒得挑，但是和若干年前的american beauty一比，就失去了新鮮感。所以Oscar最後把獎盃辦給她的the reader是不無道理的.更重要的是,Oscar一向喜歡這種畸形的感情.沒有看little children之前,我沒有明白爲什麽revolutionary road連提名都沒份兒, 現在想想不無道理.

 

Artist: Green Pat
Song: Dixie Lullaby
Album: Cannonball

My father had skin like leather
hands like steel
from a lifetime spent in the cottonfields
though hed come home tired and dirty
almost everynight
he found the strength to smile at me and hold my mama tight
while that old transister radio would play the opry out in the hall
id sit and watch their shadows glide across the wall

and theyd dance to a dixie lullaby
picture of love beneath the southern sky
oh my what a beautiful life
just like a dixie lullaby

i left home at 18
in a hand me down chevrolet
packed my mamas goodness and my old mans stubborn ways
it was college, work, and love
then the babies came
the youngest ones got his grandaddy's name
and in the early morning hours when my children could not sleep.
i'd rock them in my arms to a gentle beat

and id sing them a dixie lullaby
hush baby dont you start to cry
oh my what a beautiful life
just like a dixie lullaby

my father was a mountain of a man
that was the description that i gave
the morning that we laid him in his grave
there with my mama by his side, we said our last goodbye
to a man we thought would never die
as i stood there in the fields of amazing grace
oh how the tears ran down my face.

and i sang him a dixie lullaby
well meet again, by and by
oh my what a beautiful life
just like a dixie lullaby

oh my what a beautiful life
just like a dixie lullaby

louie louie
    

in the movie, those three guys were arguing what the hell the song is about. pretty funny. 

 

英俊潇洒风流倜傥的Derek医生彼时还是毛头小伙子一个，娶了一个比他大N多岁的Rocky parker, 这点很像刚入行娶了Top Gun里面Mimi Rogers的 Tom Cruise.Patric 在电影里面演一个troublemaker，完全看不到今天Grey's anatomy里面的深情款款。所以我可以大胆假设，像陈冠西老师这样的花花公子20年后也未见得就不能得道成仙！
值得一提的是父亲一角是Little miss sunshine里面的爷爷，的确是个好演员。电影里最经典的对话是关于求婚的：
Mr. Linder: "I didn't propose"
Mrs. Linder:"yes you did"
Mr: No, I was going to get my cigarette on the ground and asked you "would you.." I haven't finished, you just screamed and said "yes", and told everyone on the street that we were engaged!
Mrs.: Oh , right...I proposed...
Mr. why do you think I quit smoking...

今晚的HOUSE, 这两个怨偶终于给最近灰蒙蒙的剧情带来了一点喜悦。
Chase finally proposed to Cameron.
镜头里的Cameron一往情深，满含温柔，“再给我一点时间， 好么？”Chase却很生气地说“我什么时候去你那里把我的东西拿回来。”看着俏医生的失落，我很同情她。其实他们两年前也约会牵手了满久，居然在宣布订婚后不久一拍两散。我总认为是Chase(Jesse)太花心，而Cameron(jennifer)又比较心高气傲，不肯低头，终于情侣成了陌路。还好第四季开始，他们都离开了HOUSE的诊断小组，总算避免了大规模同时出现又不得不相互敷衍的场面。相信两人都是专业素质很高的演员，不至于把现实中的摩擦带到戏里；始终这都是我看戏时候常常嗟叹的一点--多么登对的一对儿啊！




编剧虽然一直没有写散两人，戏里两人还是假惺惺地 扮作情侣，可是我心里还是希望他们能峰回路转的。这就是一种典型的中国老媒婆的心态！看到今晚的episode，算是出了口气，Cameron还是让Chase跪了下去，虽然她的"yes"说的太早，也有点忘乎所以。

如果我是演员的话，我一定是那种半夜三更捧着胸口敲男主演门说“摩，我的胸口疼”的那种。
如果程蝶衣是不疯魔不得活的戏疯子，那么我就一定是个得了个眼色就颠狂的假模假式的“入戏太深”。哈。

life

Kel Penn 在星期三， 4月8日时宣布他正式加入Obama的团队。这才让所有House迷们明白Kutner怎么不明不白就自杀了。
我不是他的粉丝，我仅仅迷恋Hugh Laurie而已。
每逢四月都觉得事情纷杂，今年也不例外。本想6月休个假回家看看，被牙医教训了一番：“每三年回去一次可以了，别把自己宠坏了。”我说是阿，我就跟上瘾一样，想走的时候，怎么拦都拦不住，今年起码算是有点理智了。
牙医是个很有趣的半大老头。他一边给我洗牙，一边告诫我：“千万不要早结婚”。我顺嘴 就问他：你什么时候结的？他带着口罩的脸呈现出懊恼的样子：哎呀，我就是以我为史，让你以史为鉴嘛。我23岁结婚，36岁离婚，生了5个孩子，离婚了，还得给他们抚养费。。。好了，最小的这个今年毕业了。。。可是我要开车去接她回来。。。
老头的命其实也， 不算苦啦，也挺不容易的。

we were in New West this afternoon. It is really far from Vancouver. I felt lost. I asked Steve why we came to this remote area we even didn't know. He told me: yeah , we are in Chilliwack.
One minute later, I saw the road sign--Chilliwack street.
at last, we had to ask a guy to tell us where we were, Burnaby or New West.
well, it was a very nice day and worth walking around.

春天的腳步近了，我的身子卻越來越重了。每天9個小時的睡眠還是覺得春睏和乏力。
親愛的，我是多麽缺一個打羽毛球球的伴兒！
PS  Peter Gade will be here in Apr....

落难的凤凰不如鸡--题记

风传某知名大牌公司最近出台的住宿标准发生了“深刻而广泛“的变化。
原来出差基本上是金茂，香格里拉，希尔顿和喜来登。最近不仅饱受裁员的压力，甚至把酒店的标准也降了几个台阶。
莫泰168知道吧？如家知道8？

再往后，不会要求homestay吧？！

One of my coworkers had a talk with me the other day: "I watched TV on TV". I think it is funny.

One of my coworkers told me she saw some sign in a hotel in Japan: "Please control yourself if you are too hot."

And I made mistakes when I tried to use "tight" and "beaver"...too embarrassed.

于丹教授说“谭盾的水，在我的体内激荡”。

一群朋友聚会，某人说自己生日是8月8号。另一人一边夹起一块大肥肉塞进嘴里，一边头也不抬地说：买的号吧？！ (这个转自杜然的blog    http://duran.ycool.com/index14.html)

酒越飲越暖，水越飲越寒

Was watching Jay Leno Show.
Guests: Russel Brand. he is hilarious!
Then my favorite chef came out! Gordon Ramsay tried to teach Russel and Jay how to make pancake. They did a horrible job.煎饼果子不是那么容易的！
And, brit accent is so so so cute. I should google the clip tmrw. Put some Bu~~~tter on it!

http://www.time.com/time/magazine/0,9263,7601090302,00.html

It's 11 days before the Academy Awards, and Kate Winslet is giving her third best performance of the year. The occasion is a lunch at New York City's Oak Room at which 100 or so invited guests have gathered to honor her performance in Stephen Daldry's The Reader. This particular publicity event, orchestrated in the 26th mile of the Oscar marathon, has multiple purposes: it's designed to entice any wavering voters in the few days before the last postmark lands on the last ballot. It's also intended to defuse complaints that the movie's treatment of the Holocaust is too manicured. Thus, Elie Wiesel has been drafted to host the meal, which would have been a masterly counterstroke of damage control for distributor Harvey Weinstein had Wiesel not bailed at the last minute to attend — oh, bitter irony of the red-carpet campaign trail! — a bris.

But above all, this midday fete is engineered to give the movie's star one final turn in the spotlight. By the time Winslet arrives, she has already participated in several hours of diligent self-exposure that day, illuminating for both Larry King and the women of The View the complexities of pretending to have sex with Leonardo DiCaprio in the bleak marital drama Revolutionary Road while the film's director, Sam Mendes — her husband — watched. (See TIME's Oscar Guide: Best Actress.)

If she is fatigued, she never betrays it. An eager, insistent clot of people pushes toward her, and somehow she manages to greet each well-wisher with a fractional recalibration of body language that suggests a wordless surge of elated surprise on her part: Oh, it's you! You're the one I've been most hoping to see, and how wonderful that we share that secret knowledge! To achieve this effect, Winslet must appear, at every minute, to be not only the most interesting person in the room but also the most interested. This is not easy, and she does it very well. People walk away feeling glowy, sated and privileged. She has made them feel that way, and not out of actressy affectation, but because right now, it's her job. (See the top 10 movie performances of 2008.)

Of course, Winslet would rather be acting onscreen, which is, she says, "the one thing that I do for myself" — and lately the thing she has been doing better than just about anyone else. In an industry that insists that most actresses remain giggly, pliable and princessy well into middle age, Winslet has somehow avoided that pigeonhole entirely. She doesn't play girls; she never really has. She plays women. Unsentimentalized, restless, troubled, discontented, disconcerted, difficult women. And clearly, it's working for her. Her two most recent performances — as Hanna Schmitz, the illiterate former concentration-camp guard in The Reader, and as April Wheeler, the anguished, rageful 1950s wife and mother in Revolutionary Road — have earned her two Golden Globes, a Screen Actors Guild prize, a British Academy Award (BAFTA) and her sixth Oscar nomination, a benchmark that no actor so young has ever before reached. (See the Oscar's youngest Best Actress nominees.)

At 33, Winslet has become not only the finest actress of her generation but in many ways also the perfect actress for this moment. She's intense without being humorless. She's international in outlook (though raised in Reading, England, in a middle-class family of working actors, she now lives in New York City and won those Oscar nominations for playing three Americans, two Brits and a German). She's ambitious but cheerfully self-deflating, capable of glamour but also expressive of a kind of jolting common sense. She has a strong professional ethic, which she somehow balances with her domestic life (she and Mendes have a son, Joe, 5, and Winslet has a daughter, Mia, 8, from her first marriage — she takes both kids to school most days). And, cementing her status as an icon of the Era of New Seriousness, she really likes hard work. Assuming she's paid her taxes, are there still any openings in the Cabinet?

"I come from a long line of real cart horses," says Winslet the day after the lunch. "Very stoic, insides-made-of-iron people. So I can take any s___ you can fling at me. I can cope with any workload. I can deal with lack of sleep. I can multitask like you've no idea. But two weeks ago, I actually had a panic attack." She leans forward on a sofa in Mendes' production office in Manhattan's shabby-glam Meatpacking District and smiles. "My first one. I didn't know what it was! It was a little like when your water [breaks], and you think, Did I just pee a bit, or is this it? I called my sister and said, 'I can't breathe, and I feel like I've got a brick on my chest and I'm seeing funny, and it sounds like everyone's talking to me in Hebrew.' She said, 'Yeah, that's a panic attack.'" (See pictures of movie costumes.)

That seems a reasonable reaction for someone who has spent the decade since the historic success of Titanic making sure she's an actress first and a celebrity only when useful; the YouTube universe, in which every utterance is rewound, scrutinized and parsed, is new to her. When she succumbed to some teary emotionalism at the Globes, the Times of London called her acceptance speech a "disaster" and warned direly that her exuberance was insensitive to the "darker, crueller" mood of an America in economic collapse. Try processing critiques like that while smiling warmly on camera as Oprah Winfrey tells you how much she approves of your implant-free breasts. You'd hyperventilate too — especially if, for the first time in memory, you don't have a job lined up. After a couple of years of high-pressure work, Winslet hasn't chosen her next role and says she's looking forward to spending some time at home in a steady routine. But, she adds, "I know how long it's going to be before I feel, O.K., I really have to know what I'm doing next, or I'll freak out! I know myself, and it's only a matter of time."

For the most part, though, Winslet's professional m.o. isn't hysteria. "Once I've dealt with something, got it all out — you know, vomited and wept and had the big discussion," she says, "I move on." She approaches her characters with curiosity and determination, with an anatomist's keenness to discover what makes them tick rather than a narcissist's desire to refashion them into glibly "relatable" versions of herself. She annotates every corner of her script, which resides in a satchel with a Dictaphone, a notebook, a camera, a pencil case, snapshots and any other tools she thinks she'll need. She's hungry, persistent, questioning. Winslet says the only fight she and her husband ever had about Revolutionary Road happened at their dinner table one evening after Mendes, an Oscar winner for American Beauty, had spent a long rehearsal day doing exploratory character work with all her co-stars. (See pictures of movie posters.)

"Sam is brilliant at saying to actors, 'Tell me about this character: Does she go to church? What does she think about at 11 in the morning?' " says Winslet. "I kept waiting for my turn." It never came. "He took it for granted that I was ready, and he said, 'I can't talk about it 24 hours a day.' And I just lost it. I said, 'I'm sorry, but you're gonna have to. You're my director, and if I wasn't playing April and the actress playing April phoned you, you'd leave your dinner to go cold and take that call for two hours in the other room! I know you would because I saw you do it with Jake Gyllenhaal!' " she says, recalling Jarhead and laughing as she re-creates her mini-tantrum.

Winslet won her point, but that's about as diva-ish as she gets. The kind of behavior that could get her called a movie star spooks her; she started running away from the label in 1998, desperate to escape Titanic mania, and if it's gaining on her, she doesn't want to know. "For her, it reflects a lifestyle she doesn't aspire to," says Mendes. "And also, if you call yourself a movie star, the next movie you're in will probably prove that you're not." Movie stars have projects built around them; Winslet seeks out movies in which she can serve a director or story by becoming an essential support beam in the film's overall architecture. Movie stars usually want more — more words, more screen time, more veto power; she wants less. When the playwright and screenwriter Doug Wright worked with her on Quills in 2000, he recalls, Winslet told him "with great tact, 'Doug, I'd never say a word against your writing, but this line? This one here? ... I don't have to say it. I can do it with my eyes.' It was the best lesson in screenwriting I've ever been given."

More than any of her peers, Winslet can shape her greatest moments within those silences. In The Reader, she bares her character in the piercing looks of lust, suspicion, self-loathing and judgment that Hanna directs at her young lover and in her terrible stares of incomprehension during her trial. And Revolutionary Road pivots on the scene in which April, sitting on the beach next to her husband, realizes that he is never going to keep his promise that they'll move to Paris — that he will always ultimately fail her. It's a shattering realization that Winslet conveys not only mutely but behind dark glasses. (See pictures of people who were nominated for leading and supporting Oscars in the same year.)

"I kept saying, 'Sam, should she really be wearing the glasses? Shouldn't I just prop them on the top of my head?' And he said, 'Absolutely not!' So I thought, Well, I trust him completely, and this is a whole new challenge — someone has taken my eyes away. But the silences are where I have learned the most about the job that I do. They're where I learn to think."

Winslet's pre-Titanic breakthrough came when she was still in her teens, in 1995's charming Sense and Sensibility. But beginning with her portrayal of Clementine, the psychedelic-haired femme semi-fatale who radiates crazy in 2004's Eternal Sunshine of the Spotless Mind, a darker, richer phase of her career began to bloom. With the 2006 drama Little Children, in which she plays a suburban mom whose fear that she is becoming a cliché propels her into an affair, and her two latest movies, her appetite for a certain kind of role — "angst-ridden women," she says, owning up to it immediately — has become unmistakable. "In her real life, she likes to keep things very simple," says Mendes. "But she's drawn to roles that seem like puzzles that need to be explored or mazes that need to be entered, even if she doesn't know how to get out." (See the top 10 movies of 2008.)

Winslet's attraction to those roles is something of a mystery even to her. "It's a funny thing," she says. For a few seconds, her articulate, free-associative, appealingly profane conversational style deserts her. "I almost ... don't know. If I had a therapist, I'm sure they would identify it. Clearly, it's not coincidental. Do I feel trapped? No, not at all. Have I experienced feelings of serious entrapment in my life? Absolutely, yes, without question — and I haven't known that I was trapped until it's all come crashing down. And only then have I realized that there's a fire in me that won't be put out, and, my God, I can't believe I just said that! What a wankyactor thing to say!" She sits back, unwraps a pouch of tobacco and rolls a cigarette, a habit she says she'll work on shedding after the Oscars. "I think what connects these characters is that they want to have clarity — not necessarily freedom, just the chance to take a moment and say, 'Now what do I do?' "

But that's where Winslet's identification with them ends. Playing The Reader's Hanna was, she says, "like staring down a long, dark tunnel and searching for a fleck of light at the end, but there f___ing isn't one. There was nothing of her that I could relate to. Just nothing." When Daldry approached her about replacing Nicole Kidman, who had left the project in January 2008 after becoming pregnant, "I was concerned about whether I was skilled enough," Winslet says. The nudity required for the film's sex scenes didn't unsettle her — though she now says, "I think I won't do it again: a) I can't keep getting away with it, and b) I don't want to become 'that actress who always gets her kit off.' " But she wondered if she could handle a German accent, play Hanna convincingly into old age and find a foothold in a character who exemplifies the banality of evil. "You don't have to make the audience like you. And not worrying about that makes the job much more interesting," she says. "But I did say to myself, Come on, Kate. You don't have to humanize her, but you do have to understand her." (See pictures of East Germany making light of its dark past.) 

At some point during a movie, Winslet will usually turn to her director and ask, "Why did you want me to play this part?" "I'd really like to know!" she says, laughing. "Is it because of my jawline, or is it something else? Please tell me it's something else! It's really important for me to know why I'm there, because then I know what's expected of me."

The insecurity, says Daldry, is "incredibly charming. She's not panicking. She's already done tons of research. But she's genuinely seeking an engagement with you. She feels great responsibility for bringing what's needed to whatever the circumstances around her demand. That's one of the things that a proper leading lady does."

That sense of responsibility has always been part of Winslet's makeup, although she says that in her 20s, she had to balance it with her dread of being thought an "arrogant young actor." Between 1993 and 1998, she kept a journal chronicling those uncertainties. "I've always been very, very aware of wanting to be understood as being the person that I really am," she says. So, partly in order to figure that out, she started to write, detailing the years-long arc of her relationship with a man 12 years her senior that began when she was still a teenager, her first trip to the Oscars, their breakup, her grief over his death in 1997, the making and release of Titanic, a list of every movie she turned down in its wake (she's too discreet to name them), the beginning of her first marriage and her bewilderment over what Hollywood wanted her to become. (Interested publishers are advised not even to bother asking.) Several years ago, worried about leaving the diaries behind as she globe-hopped from one job to the next, she locked them in a safety-deposit box in London. The morning after she won the British Academy Award for Best Actress, she decided to retrieve them and revisit her younger self, a girl who was "absolutely desperate to be out in the world on my own two feet."

"I was struck to discover that I was truly the same person back then. But in the diary, I write several times, 'I'm not sure I should really be working. I've got to learn more. I have to catch up with myself.' Well, I feel I've caught up with myself now," Winslet says. "With these roles, I've just closed a big chapter in my life. I feel that only in the last two years could I look someone in the eye and say, 'I know how to act' and really maybe mean it." She hesitates for a hairsbreadth. "Notice I said maybe." 

Mark Harris is the author of Pictures at a Revolution: Five Movies and the Birth of the New Hollywood

今年的最佳男配角还有悬念么？只有5个小时等揭晓了。
作为提名者，每一个都实力不凡，有演技派的坏小子Robert Downey Jr.,有获得影帝的Philip Seymour Hoffman，有去年在No Country for Old Man里出色演绎的Barbara Steisand的继子Josh Brolin, 正是有了这样多的匹敌的竞争者，Heath Ledger 的获胜才可能有特别的意义。一个学院派从来不屑的Blockbuster--蝙蝠侠，居然能在技术以外的奖项有斩获，也算是导演Christopher Nolan(My favorite)和Heath共同的荣耀吧。

眼瞅著下個周六就快到了，我還有好多候選影片沒有看完，心裏着急啊。沒有我莊嚴神聖的一票，對全世界電影產業沒有零星半點影響；可是我對電影事業的無限熱愛之心該如何體現呢？！
好在這個周末，我得閑。又看完了《革命之路》。
Kate Winslet的老公真是厲害。電影拍得非常平實，如果不是兩個演員演技高超，這將是一部大悶片。Sam Mendes高明的另一個地方是，讓老婆同時拍了兩部都發揮她所長的電影（《朗讀者》不是Sam的作品），這樣Kate的勝算無論如何都更大一些。對於Sam來説，《革命之路》無疑是《美國麗人》在甲克蟲年代的翻版：無聊的婚姻，令人忍無可忍的平淡，渴望改變卻終于失去信心，歇斯底里的女人，婚后變得平庸的男人......Kate絕美的面龐從落地玻璃窗透出來，滿眼空洞；地毯上是她殺死自己孩子的血漬。她最終在丈夫的勸説下，放棄了夢想（去巴黎），但是失去了夢想的她就像鳥兒折了翼，在無可逃遁之後，她選擇的是一條懦弱的路， 而非革命之路。
孩子是希望的光，光散去了，生命也自然戛然而止。
有些人常常豔羨地讚嘆：看！ 多麽登對的絕配阿！在那眼光背後，有嫉妒，有煩悶，有無奈。他們自然看不到“富有富煩惱，窮有窮開心”。如花美眷不過是櫥窗裏精致的禮服，是不是你的size，穿上才知道。

奇怪的很，我原來以爲自己會很喜歡《本傑明巴頓》，我想我越來越挑剔了吧。
我到認爲2月22日的角逐，這部電影幾乎沒有什麽勝算可言。男女主角吧，個性都不是很明顯，不過都仗著自己大牌。皮特是個好明星，他演技最好的時候就是《搏擊俱樂部》，因爲那還算有點本色出演；步嵐琪特是個好演員，但是這部電影除了表現出她婀娜的身姿外，乏善可陳。如果說成功的話，應該是造型師。因爲我看電影的時候，全神貫注的就是皮特什麽時候變得最英俊最年輕，什麽時候樣貌才剛剛好匹配步嵐琪特。電腦特技也不錯，起碼比我的Photoshop強了很多倍。
本來不是很有心去看的《郎讀者》的確深得我心。戰爭中模糊或鮮明的人性，戰後隱忍的生活和陰鬱的慾求，審判席上為謀求生存而彰顯的人性惡，監獄中漫漫歲月皓然白首的等待。所有的細節和描述讓生活中的無人察覺処之細微，浩瀚内心中之波瀾不興或者濁浪排空，這種震撼是本傑明巴頓這樣的傳奇無法比肩的。
無論是出於羞愧，還是想去承擔戰爭的後果--因爲無論如何，死者已去，what matters?--漢娜用20多年的牢獄苦讀來救贖自己。祥林嫂為自己捐了條門檻，漢娜為自己捐了一個懺悔和她自由后的生命。她的言語比她的内心生硬太多，因爲文盲的緣故，她常常不能完美的表達自己。她的幼稚，簡單，和盲從令她變爲臭名昭著的SS的一員，諷刺的是，她想得不過是一份比西門子更好的工作。她的問題看似可笑，可是作爲法官，誰能回答她：一個看守能做什麽？目睹犯人在教堂裏被活活燒死，她也不開鎖放人，她是殘忍的，愚蠢的，盲從的。但正因爲她的幼稚才會讓人想到二戰中的德國，人們爲何而戰。也許德國人堅守崗位的笑話和《飛行器裏的棒小伙》一樣會一直流傳下去，但是漢娜的笑話卻不是這樣簡單，也更具諷刺意義。
麥克無法在法庭上作證，因爲作爲戰犯的朋友會被人不齒，影響人生，暗淡前途；他爲此付出的代價是内心一直無法寧靜。
漢娜覺得縂有人得為300多個猶太人的死負責，她也不願告知天下，自己目不識丁，所以她認了罪。對她而言，未必是壞事，起碼給她自己一個贖罪的機會。
她的靈魂得到自由的時候，是當年集中營中的小女孩收下了她的遺物--一個茶葉罐子--很多小姑娘兒時會視若珍寶的小玩意兒。
茶葉罐子上有一個童話故事的繪本，一點點復古的感覺，一點點恍惚的感覺；如果不是這場戰爭， 也許漢娜不過是普通人一個，就像the lady and the little dog那樣簡單，生活也像童話一樣簡單。

测试：大脑是偏向男性还是女性

女巫店本周理财指南：

未来一周，迎来中国传统假期春节，所幸的是星座理财的种种迹象也停留在一个相对稳定的交点，让人可以放心的放 下手里的各种期许，安心过个年。未来一周，对于自己的生活、工作以及投资，将产生大量的思潮与反思，很可能考虑重新洗牌。随后，天王星状态和运行轨道的迅 速更替将很可能让你在股市与生活都在一日之内体验天上与地下的巨大差别，因此整个生活呈现波涛汹涌的态势，所以说，在此大背景之下，未来一周甚至两周的工 作与生活，都将是波澜壮阔的，请做好思想准备。
年后的状况却可以说是继续低落，一切都在缓慢而有序的逐渐向下走，但并未有计划外的不良效应发生，所以能做的，也只有沉稳面对了。


前六名戴小红花：
白羊座：旺旺旺的运势开始露峥嵘
双子座：收势与未来的开势都良好
狮子座：竞争者意外退出带来的超好运气
处女座：收获很扎实的一段时间
摩羯座：各种角度看都是很不错的一周
水瓶座：人气指数已经登上高峰的一周

白 羊 座 Aries
人 气指数攀上年度巅峰的一周。更上层楼，节奏轻快。本周白羊座的重点落在桃花朵朵开，而且大多是办公室里的工作邂逅带来的新可能，所以这样说来，应该是心情 不错，并且很乐意积极上班的一周吧。过年前的最后几天，大家的心情都不在工作本身，而在于情感的升温，新一年的期待。总之是心情不错，身体不错，财务稳定 的一周。
爱情是办公室里桃花开。

金 牛 座 Taurus
无论主观动机或客观条件都有绝佳的成功机率的一周。得天独厚， 心情不错。放假从来都是金牛座喜欢的事情，因为放假可以用来想点别的，干点别的，策划一下未来。这个假期也不例外。未来一周是金牛座为自己做计划，走亲访 友恢复邦交的一周。财务与身体都没有太大问题，让自己放松一下才是正经事。
爱情是聚散两依依。

双 子 座 Gemini
双 子座坚定信心的一周。得道多助，携手共进。可望在物质或精神面享有极大收获与满足，不少人甚至可能在新的领域小试身手一下。虽说未来一段是以休息为主，却 也是不断为自己制造新的机会，相当不错的开端。金钱，事业都渐入佳境，前途堪称一片光明，不尽个人声望和人际关系处理的园融。财务与身体都稳定。
爱情是美满中的不圆满。

巨 蟹 座 Cancer
巨 蟹座身心轻松的一周。休养生息，进取有为。未来的一段时间将事业引擎启动，不再空等明天，不仅高效率规划得力、而且整合进行顺利。岁末反见生意兴隆，还承 揽某热门业务，接下各种兼职，加班、短期任务型工作。财务稳定，有小补。但身体有些问题，各种疼痛、敏感、感冒不断来袭，一定要把身体放在第一位，小心舟 车劳顿带来的意外伤害。
爱情是“只问自己爱的够不够”

狮 子 座 Leo
狮子座可以踏踏实实的休息一周了。事半功倍，爱 情解冻。归属感和身心安顿变得重要的这段期间，分外珍惜与亲友、兄弟的家族相聚时光。此前进行的某项事业，由于竞争者的意外退出而不战而胜，获得超级好的 收成，可谓岁末的一项嘉奖，令到狮子座心情大好，对未来一年充满信心。财务正常，身体敏感，要少吃少喝多休息。
爱情是现在进行时。

处 女 座 Virgo
处 女座对未来充满信心的一周。一战成名，好运如影随形。假期前最后一项工作在激烈竞争中脱颖而出，终于以美满结束年度工作。洋溢欢笑与暖意的这段期间，惊喜 好消息频传。心情与生活暂时停在充电补强、闭关修炼状态的这段日子，虽然趁假期犒赏自己一点悠闲和娱乐，但心中可从来没停过酝酿几个重大计划。
财务大破小增，不过学会正确看待也就不是问题了

爱情是年度最期待。

天 秤 座 Libra
天 秤座迎来蓄势待发的一周。守望家园，尽享天伦。经过前几个月的持续调整已经感觉到机会的临近，但尚未看到成功在招手。这样的情势让天秤座学会了平静的等待 和积极的调整，这些是今后事业大起之时必备的条件。不过本周重点落在家人团聚，尽享天伦之乐上面。财务平稳，积极寻找新的投资项目，不宜大肆消费。
爱情是依然有高票房的潜力。

天 蝎 座 Scorpio
天 蝎座迎来假期里有点另类的一周。一呼百应，风光无限。人生有很多不一样的体验，回头看感觉到世态炎凉或者人间悲欢离合，又重新回到人生的高点，所有人再次 羡慕与恭维，却让天蝎们觉得有些顿悟的意味。事业平稳，有些琐碎的工作难免烦躁，但整体工作运势是稳中走升的。健康平平，财务没有什么起色，不过看看身边 人，也就没有什么可抱怨的了。
爱情是现实主义。

射 手 座 Sagittarius
事业运财运拥有高票房潜力的一周。不负众望，有所不同。身处多事之秋，希望不失乐观的面对困难但心绪烦乱，多少感觉到远大报复的些许远离。本周宜于默默的做幕后耕耘，低调积累事业能量，未来才能应对更多的公开亮相或台前机会。财务不稳，健康正常。

爱情是百转千回的一周。

魔 羯 座 Capricorn
摩 羯座可以很安心的过年的一周。扎实努力，满载而归。这一阶段开始，摩羯座公众场合的能见度大增，做秀机会与成名指数暴涨，人际关系，社交应酬频繁，和各种 关系网都逐渐热络，盐滩和外形魅力大增。未来相当长的一段时间，事业线明朗，人际关系稳定，财务也在可预期的收成范围内，所以是很安稳的一个星期，放心度 假吧。
爱情是试验田，收获尚未可预期。

水 瓶 座 Aquarius 
人气指数攀上年度巅峰的一周。踌躇满志，平步青 云。四星齐聚在命宫之内，荣耀与骄傲逐步增多，骄傲和自负也在积极准备找上门，所以运势逐步走向未来的年度最高值。在权利游戏中穿梭的本周，社交当中与权 贵来往的机会渐多，跻身决策层，指挥若定，不过虽然短时间内风光大好，但其实未来方向尚未明确因此不好做长久打算。
爱情是回到甜蜜时刻。

双 鱼 座 Pisces
双鱼座大财小财不断的一周。焕然一新，财运亨通。即将转战另外一个舞台，开辟全新生活或者事业的天蝎座这段时期有轻微的滑落的迹象，不过好在年前的收成超级好，让双鱼座可以笑颜尽开的度过完整的假期，提妨肠胃疾病，吃东西的时候要多加小心，假期里有计划外的美好邂逅。
爱情是放假期间不妨来点小桃花。

坐公车的时候总是低头听音乐。蓦地注意到对面座位伸出来的一双脚，细致温润，平底的黑色芭蕾皮鞋，配上黑色透肉的丝袜，质地均匀，非常好看。真想知道她的丝袜是什么牌子的。抬头，发现原来是位黑人妹妹。