非强力春药

The habitus of Woody Allen’s MIGHTY APHRODITE couldn’t be more unsavory in the light of the current political and cultural ethos and the alleged accusation in which he is personally enmeshed, roughly taking its cue from PYGMALION, its story goes like this, after Lenny Weinrib (Allen), a middle-aged sportswriter, has found out that the biological mother of his adopted son Max (McQuaid), who is endowed with a higher IQ, is a bimbo prostitute and part-time porn star named Linda Ash (Sorvino), he tries every which way to persuade her to give up her profession and get settled down with an ideal man who loves her.

But Lenny’s action is anything but altruistic, he has his own face to save in case in future Max might want to know the truth of his parentage, a hairdresser of happy domesticity is what he aims for, although most of the fun derives from Lenny’s unresolved discombobulation about the genetic pedigree of Max’s genius, and gauging by Linda’s divulgence, the child might very likely be a “bad seed”, anyway, that is an excursus.

If Allen is often faulted for delusions of grandeur in his lesser works, MIGHT APHRODITE is guilty as charged, mostly for Lenny’s paternalistic attitude of playing God to save a ditzy sinful soul of the opposite sex, not to mention chiefly for his own sake, but courtesy to a corn-fed Sorvino’s zippy, down-to-earth unrestrainedness (an Oscar winner!, the Academy surely adores the stereotype of a call girl with a golden heart), Linda freshens up most comically and sympathetically for her unalloyed openness and genuineness in spite of being physically compromised in the morass of moral depravity, if Max does inherit any “good genes”, we can assure that is where they come from. In that regard, Allen’s homage to a woman’s incorruptible purity of immanent goodness is condescending, yes, but also amusingly touching.

Helena Bonham Carter, who plays Lenny’s two-timing curator wife Amanda, fares less agreeable in a mostly sidelined position, and it is rather difficult to dispel Allen’s prurient proclivity of the couple attaining a reconciliation only after both get their feet wet in adultery, a waters-muddying ploy that recoils on the movie’s intended feel-good aftertaste.

Surely one cannot finish the review without mentioning Allen’s hyperbolic conceit of orchestrating a Greek chorus to add some flourish, which bookends and punctuates the whole movie (often as a phantom manifestation), but the catch is, Lenny’s twee story is, to all intents and purposes, out of the proportion with such a majestic gesture. However, the movie's finale is a good one, instead of blowing the lid off the secret we audience is let on from the very start, appending a fresh one to counterpoint the quirk of fate is quite a cheery kicker.

referential entries: Allens’ HUSBANDS AND WIVES (1992, 7.3/10); George Cukor’s MY FAIRE LADY (1964, 7.8/10).

兰尼和阿曼达收养了一个漂亮的男孩，给他取名麦克斯，起初并不情愿的兰尼变成溺爱孩子的父亲，他深爱这个孩子。

麦克斯五岁时，兰尼和阿曼达的婚姻进入低谷，她致力于拓展人脉，准备开一间属于自己的画廊，兰尼对于和潜在投资者的晚饭约会显得很不耐烦，为了排解郁闷，他开始对孩子的生母产生兴趣，想知道她究竟是谁，他去中间人那里偷拿了有关资料，从费城又回到纽约，经历三四个曾用名后终于知道她现在叫琳达·艾什，从事色情行业。

阿曼达的老板杰瑞对她有意思，兰尼瞒着她去见琳达，两人第一次见面是在她的公寓，一位性感的金发美女让兰尼脸色苍白，这次交流并不愉快，琳达觉得他是个怪胎，把他赶走了。令人意想不到的是兰尼并没有停止他不合时宜的好奇心，魂不守舍的他还是三番四次联系琳达，想她聊一聊。

人是善变的，他喜欢你的时候，你所有的行为都是迷人的，精力充沛的，当激情退去，滤镜失效，你做什么都不顺眼。

他一直试图说服琳达退出这个危险的行业，从事一些普通的工作，然后正常地结婚生子，大概是他絮絮叨叨的游说触动了琳达，她真的决定重新开始，兰尼还帮她解决所谓的经纪人瑞奇。不久后他在拳击馆认识凯文，一个即将退休的拳击手，兰尼牵线介绍两人认识，为此不惜满口谎话。

故事有了戏剧性的完美结局，虽然阿曼达这段时间一直跟杰瑞暧昧，但她最后还是回到兰尼身边，她还爱他，琳达驱车前往凯文老家试图挽回，当然没有成功，生活给了你当头一棒，然后命中注定的人会从天而降，她结婚了，丈夫唐是一名直升机驾驶员。

生活就是如此奇妙。

伍迪·艾伦这个老头子怎么总是能跟漂亮的女演员搭戏。

生活就是这么不可置信 悲哀 讽刺 奇妙。希腊戏剧的表演一直贯穿整个影片，算是每个环节的转折提醒。琳达个傻大妞，虽然一路跌跌撞撞但是却一直拥有对生活的期待，俗话说傻人有傻福她应该完美验证了这个老话了。伍迪艾伦一贯的风格，但是这个真是少见的喜剧，伍迪艾伦就是这样 话唠 絮絮叨叨 神经质 讽刺 意外 运气 无厘头 一个普普通通的小故事所有的想法都有条有理 承上启下的转折 没有突兀 属于他的幽默给要孩子时 给孩子起名字时 和琳达了解家庭时 ……刚开始我还不适应他的风格 也看不出他哪里好 久了 就明白 一个好的导演一定是一个会讲故事的人 而伍迪艾伦就是一个会讲故事的人而且还会附加许多彩蛋。（为什么分数不太高啊）

Mighty Aphrodite，很可爱的小故事。看伍迪艾伦的片子不挑心情，emo时可看，无聊时亦可，像那种不远不近你又很欣赏的朋友。贯穿全片的古希腊部分诙谐又机灵，像夹叙夹议的小作文。拳击场里向肌肉男介绍琳达那场戏太好笑了，谎言织得流畅又饱满，哈哈哈。结尾闪出小小的火光，人生无奈中的一点暖，so，keep smiling，be happy again。