情人眼里出西施

蛮精彩的电影,情节进行的很自然...总感觉没有什么可讲的,却又蛮自然的过了两个小时催眠在开始不久就上演了还是蛮紧张,被唤醒之后的情节,至身其中,如果我是导演,该怎样进行?没有什么新意,也就是这个样子男主角的面部还是蛮可以的,如果银幕只停留在他的上半身,还是可以撑住场面的与别人站在一起,黯然失色.人类是有面孔识别的,进化出这个东西是为了干什么呢最主要的是认清身边的朋友或者什么的,标记一下而已理论上来讲,美丑应该都也还好吧就又用相由心生来说服自己当看过了那些孩子,对相由心生,是一个致命的冲击可是还是愿意相信相由心生,在大部分时候都成立,反例就认为太极端对于体态,似乎还是正常一些好吧不要影响行动在影视中,清醒的时候,似乎还是认定了美的标准考虑这些深入的问题,真蛋疼,不会有结果的

记得以前看过还评分过。

今再看，依旧带感。

喜剧的外衣，却传达着真善美，轻松地跟着情节转变和发现可以试着脱离对感官追求的外在去体会内心美好。

当哈尔在医院看到烧伤的小女孩的really面貌时怔住思考的表情，随之感动到眼眶和心一热。

影片配的流行乐轻快愉悦，还有片尾关于制止团队的镜头真的很棒！

真的很喜欢这部电影的立意，说实话我一开始也以貌取人，认为男主很丑，但电影看下来，其实男主很好，男主从开始的外貌协会到最后的看内在，转变的很好，正是因为电影无处不在对外貌的讽刺，才更加令人反思，有些人认为是导演不尊重，我想说他们真的是没看懂。

不表露出这些歧视，你怎么知道生活中有这么多歧视？

生活中对外貌丑的 残疾人的 歧视无处不在 只是那个人不是你而已。

后来看到男主对烧伤小女孩的拥抱 真的泪目了，很多人的心灵确实很美。

看了这部电影也让我反思我选男友的标准 我以前真的是外貌至上 听不进别人跟我说的看内在 就跟这里面的男主一模一样 而那些男人 果然也就真的很不咋滴 最近也经历了很多事 让我发现外表真的比不上人品重要 一个人的人品 才是选对象的重中之重。

而且这部电影不仅教会了我这些，还教会了我很多。

当一个女人不自信的时候，别人怎么夸她 她都会觉得是讽刺。

所以我们无论外表如何 只要我们真正爱自己这样 接纳自己的长相身材 接纳别人对自己的夸奖 这才叫自信。

这个社会对外貌的歧视，不仅仅局限于陌生人，甚至还可能是最爱你的亲戚。

比如电影里面女主的爸爸，他也像我的父母，会说我胖了 让我减肥 说我双下巴 没精神，这又何尝不是一种歧视呢，而男主对父亲所说的话也是令人醍醐灌顶。

所以，无论别人怎么评价我们，说我们不好看，胖了，或者是肚子很肉，我们都可以说声fuck you 关你什么事，我们的肚子肉肉的 我爱自己的小肉肉！！

谢谢这部电影，虽然我看了评论差评很多，但并不妨碍我对他的喜爱，我也应该反思一下为什么看一部电影前要看别人的想法，我的想法对我自己而言最重要！

希望大家能够刨除情人眼里出西施的滤镜，看看自己的对象抛开外表来看，他究竟是个什么样的人。

希望大家能够不在乎任何人对你外貌的负面评价，哪怕是最亲近的人。

希望大家觉得自己的小腿肚很健壮健康，觉得自己的肉肉很性感，觉得自己胖胖的手指很可爱，希望你们能够喜欢现在的自己，而非瘦下来的自己。

Before I have watched Shallow Hal, I didn't like Jack Black that mcuh, but now, I think I start liking him. Shallow Hal is this is kind of film, that you can have a good laugh about it while watching it, at the same time, there is something in it, it's not simply a comedy. Hal and Rosemary are back to together in the end, but this time, Rosemary 's appearance is fat and ugly. This time, Shallow really does just look at the inner beauty of someone. But on the other side, Hal isn't one of the most successful people in the world, either. It's not the story of beauty and the beast, although compare to Rosemary he is so much better. After watching this film, I realized how hard is to judge a person without looking at how he/she looks like. I admit, I wouldn't want to go out someone like Rosemary, doesn't matter how nice she is. But I will try, try to only look at people's soul, only people's inner beauty.

假若我们可以一眼看到别人的内在美，而不再仅仅关注外在容貌，那会是怎样的场景？

不知道，但电影《情人眼里出西施》便展现了一个如此神奇的故事。

男主人公的父亲临终前告诉儿子以后找伴侣一定要找个丰臀翘乳的美女，在这样一通告诫之后，小男孩慢慢长成了只关注女人外表的大男人，可谓对美女的标准要求十分挑剔。

但之后在一个偶然的机会里被一位高人催眠，从此眼睛看到的都是别人的内在，可能原本外在丑内在美的人他看到的就是个美女或帅哥，但有些外在美但内在丑陋的人在他眼里就是个丑陋的人。

只是到最后才发现，自己爱上的那个看上去身材苗条、聪明幽默的女人，实际外表上是一个完全不符合自己原有择偶标准，胖到不能再胖的胖女人……

一直都是看脸的时代“内在美”和“外在美”一直是老生常谈的话题，我们也常常会说“人不可貌相”，但现实中，谁又能一眼就辨识出别人内在的美丑，你能看得出吗？

反正我不能。

爱美之心人皆有之，于是基本上我们都爱看上去很美的事物及人儿。

于是，“看脸”成为时代的常态。

人人都爱美人、帅哥，形象好的人总是会得到更多的便利。

最近注册了两个职场APP，因为种种原因今年脸上冒痘简直不能看，于是一个用的头像是去年拍的没有怎么露脸的，只是展现很喜欢的一件裙子头像，另一个则是用了去年的一张摘掉眼镜，化了妆的头像。

很有意思的是，用了正脸化了妆的头像，虽然发言很少，还是有更多的人加我，而另外一个虽然经常参与社群讨论，发表热门观点，加的人也是很少。

在看职场招聘节目时候，待遇亦是如此，同一个人，好看点的人，人们才会有耐心多聊会，薪资也会加倍，不好看的，聊都不想聊，这就是大写的现实。

所以说，还觉得自己脸不重要的人们，别再天真了。

如果你想获得更多的关注和机会，请收拾好自己，打理好自己的形象。

我相信你也是爱美的，就别期望别人能够从你的邋遢中一眼看出你的内在美。

另一方面，即使不是为了吸引别人，为了自己更要努力把自己变得美美的。

当你熬夜、吃垃圾食品等等不良习惯把原本美美的自己折腾成满脸长痘时，失去的不仅是外在的关注更是对自己内在的喜欢、认可及自信。

当你学会去关爱自己，去滋养自己，去装扮自己，除了可以收获美丽的外在和形体，更是谁都拿不走的满心愉悦和欢喜。

所以，早休息、去运动、吃健康食物、给自己化个美美的妆，把自己也变成让世界及自己喜欢的美好之一。

但最后拼的还是实力电影最后，男主角没有选择最初追逐的美女，而是选择那个远远没有达到外貌标准的胖女人。

或许听起来是多少有些童话故事的色彩，但在现实中我们也常常会看到，一些帅哥的老婆不一定是美女，一些美女牵着的也不一定的是长相多么帅气的人。

因为，比“脸”更长久的，是其他更值得欣赏与敬佩的东西。

再美的脸也有看厌倦的时候，但如果一个人幽默、聪明、开朗、上进，对生活总有担当和探奇之心，他便会让你的生活变得更有趣，更加多姿多彩。

与这样的人相处，比一个花瓶比起来，日子岂不是更丰富？

而一个人一旦内在丰富了，外在气质也会随之改变。

所以，吸引别人目光的可能是一张秀美的脸，但留住心上人的，可能就要看你有没有把日子过得多姿多彩，能够接纳包容对方一切的心胸。

内在美和外在美并不冲突，有很多的人不仅长得有料，更是活得有料。

不论是外貌还是内在，如果你都有一丝可雕琢的空间，就试试去用心打理，你给予生活美，生活一定会给你展现更美的样子。

而更为重要的是，有些时候，不要仅仅被我们的眼睛所迷惑，不要仅仅因为外人的言语就左右了自己的幸福，用心去觉察真正的美丑与自己内在真正的感受，你一定会寻找到自己的幸福所在。

连着二十多部片儿没给过五星了。

这部片，不断的视觉和情节的复冲击。

让我意识到，原来自己一直是外貌协会的忠实会员，而且是重度患者。

看完这个片儿，想起自己说过的话。

美好的姑凉之于我，不是踩在高跟鞋上的精致面容，不是丰乳肥臀的肉欲。

她是能不扭捏不做作，不是生活在别人创造的世界里。

能follow her heart，内心有不安，眼中有希望。

当初说这话也很矫情。

以为自己很洒脱，很看得开，很有换了外貌窥内心的道德优越感。

其实心里也清楚的很，说这话心里是多没有底气。

Hal做到了。

最后不需要罗宾斯的催眠，面对真实的rosemary，虽然还是那么看不下去，说出来了。

好的，一个10分的妞，别人说0分不能再多了，那又怎么样，你会就此不爱了么。

asshole，滚丫的吧。

所以，一个0分的姑凉，别人也觉得是0分，但是following heart告诉你真有10分内在分，你会就此不爱了么。

想清楚再回答，不用着急。

每个人都会和Hal一样，嫌弃这个不屑那个。

热衷于看到个妞就立马打个最准确的分出来，然后和基友一起笑哈哈。

也许，能够真的做到美好的菇凉之于我的标准，会活得更踏实一点。

《庸人哈尔》是一部由杰克·布莱克（Jack Black）主演的心理学电影，影片讲述了庸人哈尔和一个胖妞谈恋爱的故事，是一部有教育心理学色彩的电影，影片中十几岁的哈尔在父亲临终的病榻前，答应父亲以后只会约会世界上最年青、最美丽的女子。

年届三十的贺尔一直坚守着这个“原则”，他只欣赏女子的外表。

奇怪的是，哈尔发现只有那些超级模特和报纸夹页中的裸体女郎才谈得上美丽。

他找女人的首要条件就是美貌，哈尔甚至根本不会去考虑追求那些体形、微笑和风度稍有欠缺的女孩子。

于是他开始上演追逐不同美女的戏码，可是他的相貌平平，遇到了不少挫折。

早已过了而立之年的他仍不愿违背父亲的遗愿，直到哈尔与著名心理节目主持人托尼·罗宾丝不期而遇时，这一切都改变了。

托尼·罗宾丝是一个自强自立、受人尊敬的人。

他被哈尔的肤浅所吸引，并让哈尔进入了催眠状态。

在催眠状态中，哈尔看到了女人的是女人的内在美。

当他邂逅了胖得有点病态的罗斯玛丽时，哈尔看到的是一个绝色美人。

他立即开始对罗斯玛丽展开了疯狂的追求。

在哈尔看来，罗斯玛丽不仅相貌国色天香，更有一颗善良的心灵，对医院里的孤儿总是多加照顾。

好友马里西奥不忍哈尔有个相貌如此不堪的女友，经想方设法要破除掉施用在哈尔身上的催眠术。

并用谎言骗过了托尼·罗宾丝，让他说出了破解催眠的咒语。

哈尔的催眠状态被解除以后，他看待世界的方式又回到了从前的样子，他必须面对一个几乎认不出来的罗斯玛丽，并作出一个影响他一生的决定……这部心理学电影有一个很好的创意点子：让浅薄至极的主角只看到他人的心灵美，即把心灵美视觉化。

广而言之，在千百万观众身上做一个小小的心理试验：如果有一种力量能让我们只看到人的本质，那么魔鬼身材是否因此失去诱惑力？

这个故事照理应该很好笑，但奇怪的是，它只是一般的好笑，似乎在全片中不断重复着同一个笑话，即女主角像只大象，而男主角漠然不知。

有时候，我很嫉妒外国人讲故事的水平，他们能把一个众所周知的简单道理，讲述的那样深入人心，让人看到一种心灵的力量、人格的魅力。

在当下，一些粗鄙的电视节目正在大力渲染物质可以取代爱情，甚至精神，更有跳梁小丑争前恐后上节目暴露自己的无知。

看起来外表时尚的年轻男女们，越来越多的加入外貌协会，却忽略了爱的感觉，甚至是人的本质，因此，如果放在当下，这部心理学电影更加显得弥足珍贵。

看完之后面对这一千多条短评及几条长评不知道该说什么，只能说这部电影的价值观放到现在已经相当陈旧。

以下是Megan Garber于2021年11月9日在《The Atlantic（大西洋月刊）》上发表的有关《庸人哈尔》的最新评价，我觉得写得蛮好，所以全文搬运以作留档。

先介绍一下Megan Garber这个人，以下文段是大西洋月刊对其的介绍文案：“She is the recipient of a Mirror Award for her writing about the media, and she previously worked as a reporter for the Nieman Journalism Lab and as a critic for the Columbia Journalism Review. At The Atlantic, she writes about the intersection of politics and culture (which often, but not always, means that she writes about reality TV)”

《大西洋月刊》特约撰稿人Megan Garber以下是正文：

In 2001, doing press for Shallow Hal, Gwyneth Paltrow spent a lot of time talking about the fat suit she wore to play Rosemary, the film’s romantic lead. She spoke in particular about an experiment that she and the film’s makeup-effects designer had undertaken to test the suit’s credibility out in the world. At a fancy hotel in New York, Paltrow donned the fake weight. She walked through the lobby. She walked to the bar. She noticed how people looked at her, and how they refused to. “It was so sad,” she told one reporter. “I didn’t expect it to feel so upsetting,” she told another. “I thought the whole thing would be funny, and then as soon as I put it on, I thought, well, you know, this isn’t all funny.” Paltrow’s assessment of this experience—apparently funny, not all funny—doubles as a pretty decent review of the film she was trying to promote. Shallow Hal is a fat joke with a 114-minute run time. From the moment it premiered, in early November of 2001, it was poorly aged. It’s tempting, 20 years later, to look back on Shallow Hal and feel we have cause for congratulation: The movie is bad, and we know it’s bad, so progress must have been made. (Paltrow herself, expressing regret last year about her part in the film，call it a “disaster.”) But Shallow Hal has not been relegated to the annals of cinematic shame. On the contrary, it has retained a revealing currency. It has expanded its reach through streaming services, where it is popular and even beloved. And it speaks to a culture that still interprets fatness as a condition that deserves whatever mockery it might get. Shallow Hal could never decide whether Rosemary was a human or a humiliation. Its confusion remains all too timely. The story goes like this. Hal Larson (played by Jack Black) is a generally sweet guy with an overarching flaw: He judges women by their appearance, refusing to pursue romantic relationships with women who don’t look like models. One day, through the combined forces of magical realism and the self-help seller Tony Robbins, Hal gets an attitude adjustment. Robbins hypnotizes Hal, ensuring that he will see people’s inner beauty reflected on the outside. Then he meets Rosemary Shanahan (Paltrow), who is smart and funny and fun and kind, and who weighs about 300 pounds. Rosemary looks like Gwyneth Paltrow in a fat suit. Filtered through Hal’s new gaze, though, she looks like Gwyneth Paltrow. That interplay of vision and reality—the cosmic wrongness of Hal’s perception—is the film’s defining joke. “The biggest love story ever told,” its promotional poster promises with a wink. Does the spell eventually break? Does Hal finally see Rosemary as she is? Does this celebration of Rosemary’s personality offer a torrent of jokes about Rosemary’s body? Yes. Over the course of the movie, Rosemary breaks not one but two seats: a flimsy chair at a burger joint and a booth at a fancier restaurant. When she and Hal go canoeing, Hal’s side of the boat tips into the air, like a seesaw trapped in the upswing. And when she and Hal go swimming, Rosemary, diving in, creates a wave so powerful that it deposits a kid into a tree. “Sorry,” she says, somehow both defined by her size and oblivious to it. Shallow Hal was directed by Peter and Bobby Farrelly, who had previously brought to the world Dumb and Dumber, There’s Something About Mary, and other films known for their giddy unions of humor and heart. In promoting the film, the Farrellys tried to argue that Shallow Hal was similarly nuanced. The people who were offended by the movie, they insisted, had missed the point; the film was challenging callous stereotypes, not endorsing them. It was exploring the meaning of a big body in a world that makes space only for small ones. That it treated Rosemary’s weight as setup and punch line at once was apparently just part of the satire. “This movie’s heart is in the right place,” Peter Farrelly insisted when Shallow Hal premiered. The film’s makeup-effects designer, Tony Gardner—the orchestrator of Paltrow’s fat suit—echoed this claim. The Farrellys, he said, “are not making fun of [Rosemary’s] weight, they are embracing her weight. Peter calls it a valentine for overweight people.” If so, the film is a dubious gift. And its grim condescensions remain familiar. Rosemary’s primary function in Shallow Hal, beyond absorbing the movie’s mockeries of her, is to facilitate Hal’s self-improvement. Both roles are demeaning. But the film suggests that she should be happy for whatever she can get. “Personally, I don’t feel any gratitude for a movie that profits at my expense,” the fat activist Marilyn Wann told the Chicago Tribune shortly after Shallow Hal premiered. The singer Carnie Wilson, whose weight had been tabloid fodder for years, called the movie “hurtful in my heart.” “Rosemary breaking things” is not the only strain of humor in this film. Shallow Hal also has great fun with the notion of “Rosemary eating things.” Early on, she explains to Hal that she long ago realized she’d be the same size whatever she ate. It is the most empathetic line in the film. (In the world beyond the movie, studies show that some 95 to 98 percent of attempts to lose weight fail.) But the brief moment of grace is overshadowed by the film’s more deeply held conviction: that a fat woman caught in the act of eating is comedy gold. We see, for example, Rosemary and Hal sharing a large chocolate milkshake; when he turns away for a few seconds, she speed-drinks the entire thing. Later, she asks Hal’s co-workers for a piece of the cake they’re carrying—and then helps herself to an extremely large slice. Cut to Rosemary walking away, clutching the cake in both hands as she munches.No real person would do that. But Shallow Hal, for all its lofty claims of charitable humanism, is not interested in what real life would be like for Rosemary. It is interested merely in mining her body for LOLs. After a while, even its lazy jokes make an accidental argument: They suggest that Rosemary’s body is a problem, not just for her, but for others. Over and over again, her weight—the food she eats, the space she occupies—takes something away from other people, whether it’s a milkshake meant for two or a cake meant for 20 or a pool meant for all. Shallow Hal is bad because it treats Rosemary’s body as comedy. But it is insidious because it treats her body as tragedy.And the movie casts a long shadow. Many Americans still see other people’s weight in precisely the same way that Shallow Hal does: as a problem that affects everyone (“the obesity epidemic,” “the war on obesity,” etc.), and is therefore the business of anyone. A New York Times column published earlier this year reported that some people had put on pounds as they navigated the traumas of a global pandemic. Noting the correlation between weight and COVID mortality, the piece chided these people for their negligence. Its author went on to explain her superior practice of self-control: “My consumption of snacks and ice cream is portion-controlled, and, along with daily exercise, has enabled me to remain weight-stable despite yearlong pandemic stress and occasional despair.”The brand of thinking underlying such smugness—that fat people are merely thin people who aren’t trying hard enough—is mythology that easily expands into bigotry. One of the grimmest elements of Shallow Hal is that, underneath it all, it understands Rosemary’s weight to be more than a matter of will. But it mocks her anyway.The years since Shallow Hal premiered have seen several paradoxes at play in American culture. Scientists have been learning more about the genetic factors that contribute to body weight, and about the metabolic adaptations that make weight loss, if achieved at all, extremely difficult to sustain. Over the same period, bias against fat people has grown. (A Harvard study of some 4 million implicit-bias tests taken between 2007 and 2016 noted a drop in several biases measured, including those related to race and sexual orientation. Bias based on body weight was the only one that increased.) As the lexicon of body positivity has made its tentative forays into American mass culture, that culture as a whole also continues to conflate thinness with wellness, wellness with health, and health with moral superiority.In one of the decidedly unpoetic ironies of this moment, the woman who described the “sad” minutes she spent navigating the world in a fat suit is helping to enforce those equations. But Paltrow’s is only one voice in a chorus that treats big bodies as deviant bodies: Adele, having lost weight, is portrayed as triumphant; Lizzo, having not, is portrayed as “brave”; Donald Trump is criticized not only on the grounds of his harms, but also on the grounds of his heaviness. The ABC sitcom American Housewife, which ran for several seasons starting in 2016, dedicated its pilot episode to its main character’s realization that, after a woman she calls “Fat Pam” moves away, she will be the “second-fattest” woman in town.Hollywood has given us many other characters who are thus flattened, among them Fat Amy and Fat Betty and Fat Thor and Fat Monica and Fat Schmidt. It has served up cruelties in the name of comedy. The actor and comedian Olivia Munn, “joking” in her memoir: “I will fix America’s obesity problems by taking all motorized transport away from fat people. In turn, I will build an infrastructure of Fat Tunnels, where all the fat people can walk. This will create jobs and subsequent weight loss.” The comedian Nicole Arbour, in a viral video: “Fat-people parking spots should be at the back of the mall parking lot. Walk to the doors and burn some calories.” The TV host Bill Maher, on his show: “Fat-shaming doesn’t need to end; it needs to make a comeback. Some amount of shame is good.”What’s notable about the “jokes,” beyond the fact that they barely qualify as jokes at all, is that they are framed as expressions of concern. They embrace Shallow Hal’s wayward logic: that making fun of fat people is a way to help fat people. The creator of Insatiable, the revenge fantasy of a fat-turned-thin teenager that streamed on Netflix starting in 2018, tried to rationalize the show’s bland bigotries in the same way that Shallow Hal’s creators had: by insisting that they were critiquing weight stigma, rather than perpetuating it. The 2018 movie I Feel Pretty takes the Farrellys’ premise—magic that makes one see the world differently—and aims it inward, at a woman who becomes convinced that she looks like a model. The film’s creators also insisted, unconvincingly, that they were going for satire.When Shallow Hal premiered, some reviews echoed its creators’ marketing messages. The Times dubbed the movie a Critic’s Pick, claiming that the Farrellys “cunningly transform a series of fat jokes … into a tender fable and a winning love story.” Roger Ebert argued that the Farrellys were “not simply laughing at their targets, but sometimes with them, or in sympathy with them”—and concluded that “Shallow Hal has what look like fat jokes … but the punchline is tilted toward empathy.”The bar, in those assessments, is so low. And it remains low. Shallow Hal’s reviews on Amazon Prime, where it is currently rated 4.7 out of 5 stars, include praise for its “moral message” and its “surprisingly deep premise.” The raves are at home in a world that still treats fat not as a neutral description, but as a degradation. Even in its triumphal final scenes, its romantic messes having been tidied, Shallow Hal returns to its easy inertias. Hal tries to lift Rosemary up, and the camera zooms in on him as he strains, his face twisted with exaggerated effort. A few moments later, as the couple prepares to drive off into their happily-ever-after, they get into a car. Rosemary crushes her side of it. These are the true physics of a movie obsessed with weight. Shallow Hal does what so many people have done over the years, because American culture says they should: It looks at a fat person and sees nothing but a joke.（由于看完后立刻决定搬运，所以没有附上翻译，如果可能会抽空更新翻译版本，现在就先记录留档下。

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⊙一定要看到结尾，才香。

这片的选材真的很合我味！

颜值身材这些外表是否是选女友的第一标准？

我曾记得我也是外貌协会的一员，我交的朋友大多数是好看的。

看了此片，我真的…好好想了一下，是要求太高，或是略过了内在！

本片用一种搞笑的手法，和反催眠的题材，表述了一个颜值不高外貌不好的男主通过大师反催眠把外面不好看的看的好美，很美的变得不好看。

(我觉得在这里是泛指美得不一定好看，不好看的不一定不美)片中有一段男主找女主，看到烧伤的小朋友，并抱住了她，挺温暖的。

男主的好朋友，好朋友认识的朋友，女主的朋友，大量的颜值不高外表缺陷的人与一少部分的帅哥美人形成了鲜明对比，突出主题。

（片中很多不好看的，奇怪的人可能很令人不适，拍摄手法也不怎么高明，甚至编辑没有充分发挥。

但这里面就是这个主题，融入角色才会懂的。

）男主最后知道了真相，他完全有机会选择另一个好看的，不过还是选择了她。

(不管外貌好不好，都有爱与被爱的权利)说实话看完我思考后，改变了多年的执念。

P：那时小辣椒真的好有气质，很美！

男主的face也很搞笑。

喜欢Gwyneth Paltrow，深额高鼻，四肢修长，刷上漆往那一摆，就叫做希腊文明。

不长的脸庞以人中为界，上半部分负责营造神秘，画上熊猫眼凝眸的时候，即便冷淡决绝，也总有几丝闪烁跳将出来，那是绝望后的柔弱。

下半部分负责表露真诚，凌厉的嘴角一旦上翘，能把边缘描在脸庞之外，整个世界为之浓墨重彩。

她不把“尤物”刻在脸上，却让一拨人如梦如癫，这同样是一种侵略性的美，比胸脯、嘴唇好用得多，那是绸缎滑过皮肤，少女在隔壁叹息。

《七宗罪》里她的脑袋被快递，我从此不看凯文·史派西的电影以示惩罚。

《超完美谋杀案》里她懵懂地走出麦克叔和阿拉贡的局，当夜她就身着无袖高领毛衣慌张地逃进了我梦里。

这一回，她是一个胖女孩的“真身”。

当杰克布莱克（就是功夫熊猫）被催眠后，不由自主地透过外表看“真身”，于是乎，送着胯走路、吮着奶油指的Gwyneth散发着另一种光彩。

正如电影中所说“美女不可爱，可爱不美女”（大意），如果某位女士从小对自己的美丽及其可以兑换的价值有着清醒的认识，想要她再多些羞赧、含蓄、娱己精神简直比芙蓉姐姐主动引退江湖更难。

当Gwyneth侧起脸，略带颤抖地说：“不要叫我美女！

” 你会觉得任它秋波流转不及低眉一瞬，你会以为自己深刻体会到了电影的“discern the essence”主旨。

再回头想想，打动你的不还是外在的美丽吗？

就像杰克解除催眠后抱怨说：“不管真实生活是怎样，在我眼中她是美女就足够了！

” 一部偶像剧非要阐述内在美的重要，就像非要让芙蓉姐姐做公益广告。

最后让杰克抱得胖人归，心理的刻画上显得突兀。

不过有谁会把它和《费城》相提并论呢？

要尝的是Gwyneth，别老糖醋就行！