NYC, present day, Kate (Keener) and her husband Alex (Platt) run a modern furniture shop, and have bought the adjacent apartment of theirs, but can only have it after the current occupant, the cantankerous 91-year-old Andra (Guilbert) dies, considering her long-in-the-tooth age, the wait shouldn’t be too long.
Acquiring their accessions with a fairly low price from the next-of-kins of the recently deceased, and then flip them for a much higher price tag in their boutique shop, Kate has become growingly flustered by guilt germinated from their pecuniary profiteering, and to allay which, she is more than willing to dish out small cash (even a 20$ note when she is in the mood) to panhandlers in the neighborhood (sometimes it is embarrassingly backfires), and seeks out some voluntary works for those who are considerably less fortunate than her. But how does it work? scenester filmmaker Holofcener’s PLEASE GIVE, her fourth feature, wrestles with this question in a brutally honest manner that it is almost touching in the end, when Abby (Steele), Kate and Alex’s zit-afflicted teenage daughter can finally have a pair of jeans she craves for, all thanks to Kate’s lofty gesture of shelling out 200$.
While Kate’s problem is chiefly, her paternalistic attitude of rearing her daughter, and a bleeding heart disposition that undermines her philanthropic resolution (she cannot turn off the waterworks when facing with disabled children, and geriatric duty is left with a loose end), and Keener is a fathomless wellspring of naturalistic demeanor, pitch-perfect affect within a wide compass of emotion; Alex is otherwise simply lumped as a complacent husband who is not above to frolic with some low-hanging fruit, but Platt’s nigh-to-zero sex appeal fails to make the affair feel authentic.
On the other side of the spectrum, there are Mary (an acerbic Peet goes for the kill) and Rebecca (Hall, wondrously expressive in her more underplayed, emotive modus operandi), the granddaughters of Andra and her caretakers, both single and fancy-free, the former is a cold-heartedly blunt hypocrite (she will not admit her radiant tan is achieved from a sun-bed, but has no hesitation to be catty about everyone else’s peccadillos) and the latter is a self-effacing and warmhearted angel, but guess which one does Abby find as a cool role model to emulate? The sharp irony and unsentimental rumination are Holofcener’s claims to fame, and PLEASE GIVE is illuminating in alerting us to inspect our own contradictory behavior patterns, for that effect alone, Holofcener’s sensibility and intellect should be drawn onto a bigger scope to shine and dazzle.
referential entries: Holofcener’s ENOUGH SAID (2013, 6.9/10); Yaron Zilberman’s A LATE QUATET (2012, 6.7/10).
我认为请给予其实是一部表达多关心家人的亲情类电影,电影主要通过2家人的生活与矛盾,告诉了我们亲情的重要. 老太安德拉的家庭: 1) 首先是老太安德拉,她是一个90多岁的老人,在故事的结尾我们可以看到老太年轻的时候做了很多慈善的工作,但老太太是个好强的人,她不愿把自己的脆弱表现出来,一方面是她自己的性格所致,另一方面在于她需要扶养2个甥女,使得她不得不如此般坚强.但其实老太太很孤独,她内心其实很愿意和人交往,沟通,但她又故意去回避,电影中刻意穿插养老院的情节也点出如今社会这样的老人十分的多,也企盼我们多关心身边这样的弱势群体. 2) 丽贝卡有一份类似护士一样的职业,她内心善良,不仅仅对老太安德拉,更表现在对于她的病人之上,她能够理解老人的痛苦,这与她的姐姐做出鲜明的对比,这样的女孩虽然如此完美,但总伴随着较低的社会地位这样一个特点,也使得她有一个感情问题难以解决的社会问题,这点正体现出如今物质欲望横飞的社会的本质. 3)玛丽,一个受到多重伤害的女孩,因为母亲的自杀而憎恨外婆,因为男友的抛弃而怀恨男友的新欢,她内心充满憎恨,使得她选择很多极端的生活,去晒日光浴,去偷窥,去偷情等.她封闭了自己的内心,当她在追悼会上听到外婆生前的所做所为时,她的表现显出一丝内心的转变,她仿佛理解了家人亲情的那份内心的支撑作用. 凯特一家 1) 凯特是一个回收已故老人家具而转卖的商人,她总是表现出对于流浪者等弱势群体的爱,但她对于家人却显得那么吝啬.她内心很挣扎,她难以和自己的女儿融洽生活,她有时也无法理解丈夫的感受,但她有充满想要表达爱的意愿,所以她选择去做义工,选择去给予穷人钱财.但这些行为反而让她更难以得到家人的理解,但凯特是幸运的,她的工作给予她更多的机会去理解她购买已故老人家具时那些老人子女的感受,渐渐的使她理解其实为自己家人付出更多爱,比那些对外的爱更来得真实. 2)亚历克斯作为一个丈夫又兼合伙人,使得他对于家庭除了义务越来越缺少情感,所以他选择了偷情,但多次偷情后他内心产生了罪恶感,他寻问自己什么都不缺的家庭为何还要寻找偷情这份刺激,这时他明白了家庭除了义务更多的是温暖的那份感觉. 3)女儿艾比是一个对于物质极度追求而对自身条件极度自卑的女孩,为了跨越自己心里的鸿沟她不得不选择更进一步的物质,但这些又使得她与母亲的理念所背离而产生矛盾,但当她美容失败之时,她发现父母表现出的爱是那么强烈,渐渐的她理解了爱其实不是金钱所能够衡量的东西. 最后我想说,在如今我们被物质社会的阴暗面所包围的社会里总会提倡爱的奉献,但我们所宣讲的爱又总那么道貌岸然,其实爱是在点滴之间所理解和发现的,而最简单最值得我们去付出和发现的便是我们的家庭.
又是那种温馨的小东西,算不上沉闷,可以拿来放松。
可以
生活就是一记闷拳,无论多漂亮的脸蛋也都得挨完了继续,要么继续笑,要么继续哭。
平平淡淡,平凡的才是真实的。
都市生活电影,剧情如果能更深一层次更好
请给予生活还要继续
很温情
不太喜欢女导演的作品,拍出来的故事都太温了,看着入不了戏。
一部女性电影,情节流畅,演技也不错,但总感觉缺了点什么。
非常棒 完全超越了当年好评一片的《鱿鱼和鲸》,还有就是导演的音乐品味非常出色
15岁时你开始沙沙比比在意自己穿什么以为谁会系的看你一眼,35岁你把钱给别人买衣服以为人家会感激,75岁你不舍得穿新衣服非要留到特殊场合以为还会有那一天,人这一生,so sad
现代都市人的生活缩影,为了什么而活,我们要想明白。能挖掘得再深一层就更棒了
我觉得一般,剧情不是很给力
很有感触,就在身边人的故事,真实的很无奈
一直就觉得这个女导演比较无趣,而且对生活太过刻薄。而且在感情上,很多东西都没有过度和转折,完全依靠剧情的转换,所以很生硬
感觉很温暖
生活就是如此,总是能从影片中找到一写共鸣
充滿了十足的紐約氛圍,但和「電子情書」編導諾拉艾芙蓉那種充滿浪漫情懷的手法不同,霍洛夫仙納不斷以犀利的對話和情節,呈現她觀察之下的紐約人。片中的每個角色都各自在自己的生命中給予或學會給予的真諦,其實給予就是一種獲得的方式,但獲得的並不是物質上的虛無,而是心靈中的滿足。
挺感人的
是同情心泛滥还是罪恶感过甚,都只为了寻觅内心的宁静。