电影结束的一霎那，Johathan Rhys-Meyers饰演的男主角望向窗外，屏幕一黑，字幕卷起，所有的观众心里都像是吞下了一块生猪肉，一时难以消化。直到十分钟后，大家才回过神来，那块生猪肉忽然煮熟了，不过味道却奇怪得很，百味杂陈，悲喜难辨。
Woody Allen的书房里，必然有一排陀思妥耶夫斯基的小说，而《罪与罚》和《白痴》，或许是常年摊开在案头的两本。
基本上，Woody Allen对于十九世纪小说形式的深刻体验，足以让任何一个大学教授汗颜，当所有人都把这些故纸摊当作上个世纪的经典隔岸观火的时候，他却能拍出一部当代版的十九世纪的故事。
-- The man who said, "I'd rather be lucky than good", saw deeply into life.
-- People are afraid to face how great a part of life is dependent on luck. It's scary to think so much is out of one's control.
-- I think it's important to be lucky in anything.
-- Well, I don't believe in luck, I believe in hard work.
-- Oh, hard work is mandatory, but I think everyone's afraid to admit what a big part luck plays. I mean it seems scintists are confirming more and more that all existence is here by bland chance. No purpose, no design.
-- Nola, be reasonable.
-- That's exactly what Tom said when he broke off our engagement, being reasonable got me where I am right now.
-- You can learn to push the guilt under the rug and... go on. You have to, otherwise it overwhelms you.
-- The innocent are sometimes slain to make way for a grander scheme. You were collateral damage.
-- This child will be great at anything he sets his mind to.
-- You know what? I don't care if he's great. I just hope he's lucky.
几乎每个文艺青年的理想生活和《Match Point》中的Chris 说的差不多： Wealth but not stuffy. Enjoying his fortune, having a great time, surporting the arts.
但人总是贪婪的，得陇望蜀，梦想永远没有完成的那一天，目标达成，新的梦想会立刻出现，人的贪心是世界进步的动力。
后来Chris 就重演了《罪与罚》的剧情，枪杀了老太太，估计他也是从这本小说得到的灵感（文艺青年们，看看你们的书都读到哪儿去了？）
注意到背景音乐中那些挥之不去的歌剧了吧，那正是乔纳森内心的旋律，悲伤、充满真挚的感情，然而却是个不折不扣的卑鄙小人。我们该赋予他多余的同情吗？他杀死了那个可爱的姑娘，也杀死了他自己。你既不能同情他，也不能审判他，因为他就是你自己，至少是一部分。
影片结局出人意料，是惊喜也是惊恐，它充满了诗意的嘲弄，现实被剧作家小小地暗算了一把。伍迪艾伦略施小计，将笔锋一转，让所有呼之欲出的剧烈冲突、悲惨结局和男主人公擦身而过，却把永恒的疼痛留给了场外的观众。没有什么比这更适合“电影的艺术”了--你看了电影，你就是真相的知情人，你曾经因此心旷神怡，现在你必须付出一点儿代价，你要承受为故事的主人公藏匿秘密的痛苦。
伍迪艾伦这个老头儿实在很现实，他做出的不是一部剧，他做出的是现实。现实不是甜美蛋糕，有樱桃装饰。现实可能是一张5毛钱的大饼，硬得可能会噎到喉咙。可是总是要吃下去的。
因果报应这种东西不要信的。痴情可能早死，绝情未必伤身。
Woody Allen的书房里，必然有一排陀思妥耶夫斯基的小说，而《罪与罚》和《白痴》，或许是常年摊开在案头的两本。
基本上，Woody Allen对于十九世纪小说形式的深刻体验，足以让任何一个大学教授汗颜，当所有人都把这些故纸摊当作上个世纪的经典隔岸观火的时候，他却能拍出一部当代版的十九世纪的故事。
-- The man who said, "I'd rather be lucky than good", saw deeply into life.
-- People are afraid to face how great a part of life is dependent on luck. It's scary to think so much is out of one's control.
-- I think it's important to be lucky in anything.
-- Well, I don't believe in luck, I believe in hard work.
-- Oh, hard work is mandatory, but I think everyone's afraid to admit what a big part luck plays. I mean it seems scintists are confirming more and more that all existence is here by bland chance. No purpose, no design.
-- Nola, be reasonable.
-- That's exactly what Tom said when he broke off our engagement, being reasonable got me where I am right now.
-- You can learn to push the guilt under the rug and... go on. You have to, otherwise it overwhelms you.
-- The innocent are sometimes slain to make way for a grander scheme. You were collateral damage.
-- This child will be great at anything he sets his mind to.
-- You know what? I don't care if he's great. I just hope he's lucky.
几乎每个文艺青年的理想生活和《Match Point》中的Chris 说的差不多： Wealth but not stuffy. Enjoying his fortune, having a great time, surporting the arts.
但人总是贪婪的，得陇望蜀，梦想永远没有完成的那一天，目标达成，新的梦想会立刻出现，人的贪心是世界进步的动力。
后来Chris 就重演了《罪与罚》的剧情，枪杀了老太太，估计他也是从这本小说得到的灵感（文艺青年们，看看你们的书都读到哪儿去了？）
注意到背景音乐中那些挥之不去的歌剧了吧，那正是乔纳森内心的旋律，悲伤、充满真挚的感情，然而却是个不折不扣的卑鄙小人。我们该赋予他多余的同情吗？他杀死了那个可爱的姑娘，也杀死了他自己。你既不能同情他，也不能审判他，因为他就是你自己，至少是一部分。
影片结局出人意料，是惊喜也是惊恐，它充满了诗意的嘲弄，现实被剧作家小小地暗算了一把。伍迪艾伦略施小计，将笔锋一转，让所有呼之欲出的剧烈冲突、悲惨结局和男主人公擦身而过，却把永恒的疼痛留给了场外的观众。没有什么比这更适合“电影的艺术”了--你看了电影，你就是真相的知情人，你曾经因此心旷神怡，现在你必须付出一点儿代价，你要承受为故事的主人公藏匿秘密的痛苦。
伍迪艾伦这个老头儿实在很现实，他做出的不是一部剧，他做出的是现实。现实不是甜美蛋糕，有樱桃装饰。现实可能是一张5毛钱的大饼，硬得可能会噎到喉咙。可是总是要吃下去的。
因果报应这种东西不要信的。痴情可能早死，绝情未必伤身。
