大梦想家

去年看到汤姆汉克斯在《拯救班克斯先生》里扮演沃特·迪斯尼，我就非常觊觎本片。

看了一点小介绍，发现本片是讲的关于拍摄《欢乐满人间》背后的人情世故。

所以，我默默觉得要看懂《拯救班克斯先生》首先得先补课《欢乐满人间》。

一口气先后看完《欢乐满人间》和《拯救班克斯先生》，证明我的决策是十分正确的。

蓓蓓的电影世界：http://blog.sina.com.cn/bblovesmovies音乐首先，要看懂《拯救班克斯先生》，必须先看完《欢乐满人间》。

这样，当《拯救班克斯先生》里响起那些《欢乐满人间》里悦动的歌曲时，你才会有共鸣。

《欢乐满人间》里几段配曲是相当朗朗上口和印象深刻的，音乐是本片一大亮点。

一般的歌曲都是先有曲后有词，所以唱起来各种和谐。

但是对于音乐剧里的歌曲来说，音乐是为了剧情发展，传达语言的一种方式，所以是曲将就词，往往都很平庸。

但是本片里的几段曲子真的很赞，就像《拯救班克斯先生》里沃特·迪斯尼听到编曲者在试唱曲子时，他说了一句：it can work.yes,《欢乐满人间》里的歌曲都很经典，就像《雨中曲》的《sing in the rain》一样，是好莱坞歌舞黄金时代的力作。

卡通《欢乐满人间》里一段真人与卡通结合的桥段确实让我小有吃惊，在那个年代算是制作得非常非常的精良，卡通人物形象的立体鲜活，包括真人演员和动画形象之间的眼神交流都毫无违和感。

后来看了《拯救班克斯先生》才知道本片由迪士尼出品，就怪不得要用卡通人物，还画地这么好。

不过也是看了《拯救班克斯先生》才知道小说原作者特拉弗斯是非常反感影片采用卡通的。

不过，我觉得这段卡通与真人的结合也算是《欢乐满人间》的一大亮片，摆脱了当年好莱坞歌舞片里平庸传统的唱唱跳跳形式，现在看也让人眼前一亮。

父亲当我看到《拯救班克斯先生》这个影名时，我就纳闷了，为何叫拯救班克斯先生？

班克斯先生是谁？

为何是拯救他？

后来在观影过程中才发现，班克斯先生就是《欢乐满人间》里这个魔法保姆去到的这个家庭里的父亲。

这才让我重新得以审视《欢乐满人间》这部影片。

就像《拯救班克斯先生》一个桥段演绎的那样：当小说原作者特拉弗斯失望地对迪士尼工作人员说：你真以为Mary Poppins（魔法保姆）是来拯救这个家里的孩子们的吗？

这时候，我和剧中的人才一起意识到，《欢乐满人间》里那个家庭真正得到拯救的，需要被拯救的不是两个淘气得换掉N个保姆的孩子，而是这两个孩子的父亲——班克斯先生。

也是这个时候，我才发现，我才真正看懂了《欢乐满人间》。

一个童年对父亲有着深沉的爱却换来失望的女儿把所有美好的夙愿都寄托在了她自己创造的人物——Mary Poppins以及她走进的这个班克斯家庭的故事里。

所以，她才会如此尖酸，挑剔刻薄的在迪士尼改编的电影剧本里挑刺。

《拯救班克斯先生》讲的就是沃特·迪士尼如何打开小说原作者特拉弗斯的心扉，如何让Mary Poppins走进荧幕，如何让《欢乐满人间》成为电影史上伟大电影之一的过程。

在观影的过程中，我简直哭死了！

因为扮演小说原作者特拉弗斯的女演员艾玛·汤普森把可怜之人必有可恨之处的性格矛盾演绎得栩栩如生，催人泪下。

再加上，《拯救班克斯先生》本片也很有“心机”的找来艾玛·汤普森扮演小说原作者特拉弗斯，因为艾玛·汤普森年轻的时候也在翻拍的影片里演过Mary Poppins这个角色。

所以，她熟悉角色，熟悉故事，这一次更是参与到真实的背后故事中。

这些都让人觉得很暖心。

再加上，对于一个从小就对迪士尼有着深爱的我来说，当看到《拯救班克斯先生》里出现，迪士尼乐园熟悉的火车，旋转木马时，我也是激动昏了。

真的跟我在HK 迪士尼乐园的构造是一样的，一样的。

《欢乐满人间》看似欢欢乐乐，原来背后有着这么不为人知的原作者的心酸童年。

所以，对于过去，我们要试着去原谅，放下包袱，才能获得真正的解脱和快乐。

边看边在纸上记了很多关键词、台词，关于这部电影有太多的感受感悟亮点。

但是全片看完被打动落泪，却觉得之前记下的这一切都不是那么重要了。

所以就不组织了，只琐碎的记录一下。

每次遇到真实事件改编的片子有较大幅度的美化我就会不可避免的降低好感，但是单纯影片本身真的拍得够好，且卡司都是我的大爱，表演够好，所以值得上五星。

Emma Thompson演的真好。

一出场就把一个刻薄的英国老太太演绎的那么生动准确。

可是倒也不让人讨厌，因为会被她那股认真执着劲感染。

然后随着剧情深入越来越了解她的童年过往，就越来越理解现在的她——包括那一系列的具体符号：梨（为了不忆起父亲的死，也为了不忆起自己曾经让父亲失望）、编造词（父亲曾在嬉闹中编造过一个词）、胡子（父亲说为了女儿的脸也一定要把胡子剃干净；而后来Walt Disney在伦敦忆起自己的父亲来则提到说父亲有那样的胡子所以才希望片中人物也有那样的胡子。

这两相辉映很赞，都是体现对父亲的爱）、红色（父亲的血——然而有一个特写显示，她的脚趾甲上涂的是红色的指甲油）、湖（母亲险些在湖中溺死）、两便士（父亲临终前给的买梨钱）、茶（姨妈到来时拿出的茶杯），都在现实和回忆的切换中找到了对应。

这整个叙事结构很赞，节奏也很流畅。

酒店房间里Pam清理毛绒玩具很可爱，尤其是最后把米奇扔去面壁。

而这反倒映衬着后来她抱着米奇入睡以及和米奇相对而坐说出一句Enough后签下授权合约的情节更加温馨。

Pam在酒店吧台前用茶，想和bartender聊几句以派遣寂寞，还没开口人已走远，尽显独自一人远在洛城的孤独悲凉感，同时体现的也是她成年后人生和生活的孤独——没有伴侣，独守空房，还一直被童年亲情的噩梦纠缠着。

好在还有愿意去了解她和她沟通的Ralph在。

不知道电影里小女孩的名字Jane跟他的女儿Jane是否有关系。

Walt登场时背后架子上一字排开的Oscar小金人真是闪瞎眼。

编剧三人组被Pam训斥时太好玩了。

这整个创作过程本身也很吸引人，不断的碰撞激发。

Jason Schwartzman是我的大爱，但是这次收拾的干干净净的一开始都没认出来——收拾干净了真好看，歌声也好听。

风筝。

这个意象是童年回忆中未曾出现的，但它也在回忆中有着对应的隐喻，那就是fix。

姨妈到来时说会fix everything，但没能做到，父亲离开了。

所以Pam会眼含泪水的冲编剧们喊为什么就不能把风筝给fix好，因为风筝或许就隐喻着父亲的生命和自己生命的快乐，如果风筝能修好或许就能愈合她内心的伤口。

我猜在她原著小说中风筝最后是没修好的，所以当编剧们决定将情节改变时，她会那么高兴，甚至略显突兀的手舞足蹈。

看到几篇影评中提到，现实中Pam在首映时因为动画企鹅非常愤怒，以致落泪，且并没有发生Walt前往伦敦和她推心置腹的那番交谈。

我不知道她落泪到底是因为愤怒还是因为感动，但至少我是在片子演到那里时被打动流泪了。

有一句我喜欢的影评或许很适合放在这里做个注脚：不论Traverse是否已对当年影片的事释怀，这部电影是给她的。

就像是不论伦敦的那番对话是否真实发生过，Tom Hanks在片中说的那番话也都有其现实意义。

他说，"You expect me to disappoint you, so you make sure I did. Life disappointed you."，忘掉痛苦的那几天吧，多想想那些快乐的日子，学会原谅，不是原谅其他，是原谅自己，"Life is a harsh sentence to lay down for yourself"，原谅了才能重拾快乐，重拾生活。

Saving Mr.Banks，不仅仅是拯救当初这个险些流产的影片项目，也不仅仅是拯救自己内心中的父亲和伤痕，更是拯救Mrs.Traverse，以及我们每一个有过类似经历的人的心。

电影中的首映最后，Pam笑了。

在那时她回忆起的是看到父亲吐血后的对话，"Don't leave me." "Never. I promise." 我想她之所以笑了，是因为这部电影，这部电影最后被修好并放飞的风筝，以及她参与这部电影创作慢慢释然慢慢解脱的整个过程，使得父亲得到了拯救，从而能够兑现诺言永远陪伴着她——在心中。

片尾的老照片和当年真实的录音带很赞，海报上两个人的影子极赞。

在春色满人间这部由Disney投拍的经典歌舞电影上映50周年之际，Disney公司发行了影片的重制蓝光碟，以及一部纪念电影——大梦想家，讲述春色满人间从筹拍到上映历经坎坷20多年的花絮。

春色满人间的原小说作者P. L. Travers是个正宗的（伪）英国人，精致，严谨，一口英伦腔极尽刻薄之能事；而投拍电影的Disney老板Walt Disney是典型的美国人，热情，乐观，一脸笑容温暖人心。

起初P. L. Travers对Walt Disney及参与春色满人间电影项目的工作人员百般刁难，然而最终，做作英伦腔在与美式正能量的撕逼大战中败下阵来，影片得以投拍，并取得了巨大成功，和P. L. Travers本人的肯定。

-装正经废话完结线---好吧，其实这些都不是我的关注重心。

作为Colin Farrell的长期脑残粉，囧哥的出演才是我的点。

影片有两条故事线，1906年的澳大利亚和1961年的洛杉矶。

前者道出了P. L. Travers的童年经历，对于 解释她的性格成因，行为细节，以及Mary Poppins小说的创作初衷其关键作用。

小囧哥就存在于这条线，因为故事相对独立，没有Emma Thompson和Tom Hanks两位公认的严肃艺术家压制，我囧哥作为不严肃艺术家的才华得到充分释放。

其实以我对Colin Farrell的演技的认可程度，即使让他和二老对戏我应该也会觉得演得很好的。

只是肯定会有很多人做出如下反应，“好莱坞浪荡公子Colin Farrell的光芒完全被两大戏骨压制，演技还需磨练”，呵呵，呵呵呵呵……可是囧哥饰演的P. L. Travers的爹，Mr. Banks的原型，怎么那么像个林黛玉啊……他是真正的大梦想家，虽为生活颠沛流离，却有着赤子之心和孩童般的笑容；他性格乖僻，无法和世俗相容，却对家人有最深沉的爱。

他虽然没有两湾似颦非颦罥烟眉（他眉毛粗得像蜡笔小新还是囧字形的），但他有一双似喜非喜含情目，他哭时背对Ginty，看不到泪光点点，但能感受到娇喘微微……更关键的是，他吐血啊，他吐了一次血之后，从演讲台上摔下来，从此就躺在床上，直到戏份完结再也没起来过，就那么吐啊，吐啊，最后吐得一身血，死了。

这不是林黛玉是什么啊，摔！

在电影中，特拉弗斯女士和迪士尼先生最后有了一个完美的结局，可是在现实中，她甚至没有把后几集的Mary Poppins版权卖给迪士尼；在电影的电影中，他们拯救了班克斯先生，他振作了起来和他们一起去放风筝；可是在现实中，这些美好的愿望都没有实现。

甚至特拉弗斯女士希望现实地拍这部电影的愿望也没有得到实现：他们最后还是拍了一部理想的、甜蜜的、高大全的《欢乐满人间》。

在所有迪士尼的动画中，没有一部不是以喜剧结尾的：辛巴战胜了刀疤，白雪公主嫁给了王子，尼莫找到了爸爸（虽然这部不是迪士尼），飞屋的老爷爷最终实现了梦想。

这是我最不喜欢看动画片的原因：从头到脚，没有一个情节是真实的。

它像是粉饰我们生活的鸦片，给孩子灌输着世界是美好的的梦想，在这一点上，我和特拉弗斯是持有相同意见的：不管是成年人，还是孩子，都需要面对现实。

虽然汤姆汉克斯和艾玛辛普森都是神一般的演员，把两个强势而又固执己见的人演得惟妙惟肖，可是从片尾的当年录音还原来看，他们俩人就注定不可能有一次完美的合作。

作家对自己的角色和情节充满了感情，那是她头脑中的东西，每一次改编，都像是被被人夺走了她的孩子，更何况是商业化到极致的迪士尼电影。

可悲的是，没有人爱看悲剧，大家都希望有个团圆美满的结局，即使他们也知道，电影都是骗人的。

《欢乐满人间》欺骗着当年的观众，而《Saving Mr. Banks》欺骗着现在的观众。

我们都醉心于这种欺骗。

Is ‘Saving Mr. Banks’ too hard on ‘Mary Poppins’ creator?DEC. 28, 2013 12 AM PTBYREBECCA KEEGANhttps://www.latimes.com/entertainment/movies/la-xpm-2013-dec-28-la-et-mn-disney-mary-poppins-saving-mr-banks-travers-20131228-story.htmlIn the winter of 1933, in a thatched cottage in Sussex, England, a complicated woman named Pamela “P.L.” Travers began to write “Mary Poppins,” the first in a series of novels that would inspire the beloved 1964 Walt Disney movie and supply generations of children with a magical fantasy nanny.The reality of Travers’ own turbulent childhood — and her reluctance as an adult to relinquish control over her characters to Walt Disney — are the subject of the movie “Saving Mr. Banks,” which has just gone into wide release. Directed by John Lee Hancock, “Saving Mr. Banks” follows Travers (Emma Thompson) as she travels to the Disney lot in Burbank for two weeks in 1961, tangling with and tormenting the studio chief (Tom Hanks). The L.A. visit inspires Travers to recall her childhood in Australia, in particular her father, a charismatic drunk played by Colin Farrell.Some critics have complained that “Saving Mr. Banks,” which Disney itself produced and distributed, is too hard on Travers and too easy on the company’s founder. Travers is cold, critical and strange — arbitrarily objecting, for instance, to having the color red in the movie and dismissing Disney’s “silly cartoons.” “Uncle Walt,” by contrast, is jovial and encouraging, with few flaws to speak of save for a bad smoker’s cough.ADVERTISEMENTVIDEO: ‘Saving Mr. Banks’: Watch cast, crew discuss the filmAlmost all of what appears in “Saving Mr. Banks” is true. Travers really did hector and frustrate the people at Disney, a fact substantiated by 39 hours of audio recordings of the author’s sessions with “Mary Poppins” screenwriter Don DaGradi, who is played here by Bradley Whitford, and songwriter brothers Richard Sherman (Jason Schwartzman) and Robert Sherman (B.J. Novak).But the makers of “Saving Mr. Banks” admit they took some liberties with Travers’ often tragic life story — they say they actually added a spoonful of sugarYour gift makes a difference in the lives of working dogs, handlers and those affected by disasters here and around the world.“[Travers] was an incredibly difficult person and actually much more difficult than she’s portrayed in the film,” said Kelly Marcel, who shares screenplay credit on the movie with Sue Smith. “But the more I found out about her childhood, the more I felt for her. A lot of children’s authors create these characters from places of tragedy and darkness. I felt it was a beautiful story even though she was an absolute pain.”Australian producer Ian Collie, who made a documentary about Travers in 2002, hatched the idea for a biopic about her, eventually involving independent producers in Britain, a path to the screen that was initially free of Disney input.“This was a script completely developed outside of Disney,” Hancock said. “It would have been difficult for this script to happen inside the studio walls.”Smith, an Australian writer, penned the first draft of the screenplay, which focused on Travers’ strange single-motherhood tale; in real life, the creator of one of fiction’s most beloved caregivers had promised to adopt twin boys, and at the last minute decided to raise only one, never telling him about his brother. (Travers’ son, Camillus, died in 2011, having eventually met his twin brother as an adult in a bar.)When Marcel came onto the project, she decided to leave out Camillus and split the script instead into a dual narrative, with one thread focused on Travers’ childhood, the other on two weeks of her decades-long feud with Disney. She also introduced a fictional character, an optimistic driver played by Paul Giamatti, with whom Travers finally shares a human moment.“I felt we didn’t have a bridge to her feelings,” Marcel said. “We need someone to like her.”Marcel’s script earned a spot on the Black List, a list of hot, unproduced screenplays circulating in Hollywood, which attracted the attention of executives at Disney — in reality the only studio that could have made a movie so laden with Disney intellectual property.“Once Disney bought the script, my big fear was, they’re going to try and sanitize Walt,” Marcel said. “There are going to be so many rules and stipulations, they’re going to say he can’t smoke, he can’t drink. And then they didn’t.”Instead Marcel got access to Disney’s vast archive, including the 39 hours of tapes, which Travers had demanded be made, and to Richard Sherman, who consulted on the movie.Sherman recalls Travers as frustrating and unkind. “The first thing [Travers] said to us was, ‘This is not going to be a musical,’ ” Sherman said, remembering the weeks he spent with Travers in 1961. “[“Saving Mr. Banks”] feels so real to me, it knots my stomach.”Marcel said one change the studio asked her to make to the movie, which is rated PG-13, was to remove a swear word. Disney is also not shown smoking but does stub out a cigarette in one scene.Disney — the man and his creations — have been the subject of interest in multiple media lately, including a critical opera by Philip Glass called “The Perfect American” and a dark independent movie shot surreptitiously at Disney World, “Escape From Tomorrow.”According to Hanks, the fact that “Saving Mr. Banks” is really about Travers, and only spent a narrow time frame on Disney, absolved it of having to deal with some of the more unsavory parts of Disney’s history, such as his role in Hollywood labor issues in the 1940s and his relationships with some well-known anti-Semites.“It was very prescribed what the screenplay was going to be,” Hanks said. “Everybody asks about the strike and the anti-Semitism. But by 1961 it was far enough in the past. He was at the studio and he was — I don’t want to say that he was beloved, but Walt was beloved.”Reviews for the film have mainly been more positive than negative, and Thompson has earned Golden Globe and Screen Actors Guild nominations for her performance. But some critics have objected to what they consider a pro-Walt slant in a movie coming from the man’s own studio. LA Weekly’s Amy Nicholson wrote, “There’s something sour in a movie that roots against a woman who asserted her artistic control.”Marcel said she’s surprised by the critique. “I think I’m incredibly sympathetic toward [Travers] in this film,” Marcel said. “I don’t understand those reviews, but she’s a tricky character.”Disney never invited Travers to the “Mary Poppins” premiere, but she came anyway, afterward telling Disney they had “lots of work to do” to ready the film for release (Disney dismissed her). Privately she told friends she found the film too saccharine.“Kelly Marcel’s script poses a great what if,” Hancock said. “We know Travers didn’t care for the [“Mary Poppins”] movie. We know she wasn’t invited to the premiere. We know she didn’t care for the animation. We do know she cried at the premiere and nobody knows why. Kelly took that as an opportunity for a what if: What if these two weeks were a cathartic experience?”Travers spent her later years writing other novels, poetry and nonfiction (none as commercially successful as “Mary Poppins”) and pursuing an interest in various spiritual ideas, including the teachings of the mystic George Gurdjieff and Zen mysticism, before dying in London in 1996.Valerie Lawson, author of the Travers biography “Mary Poppins, She Wrote,” who has seen “Saving Mr. Banks,” defends its portrait of a difficult woman.“Travers was prickly, but she had good reason to be unhappy as she went through many private struggles and, in many ways, was a woman who could rely only on herself,” Lawson said. “She tried to keep her private life very private so it would have been very confronting for her to see, or even think of herself as a film character. Then again, if she was alive, I can’t see how the film could have been made at all.”--I heard that P.L. Travers ruined the lives of two boys. Is that true?https://www.historyvshollywood.com/reelfaces/saving-mr-banks.phpThough it was not shown in the film, author P.L. Travers did not weave similar magical tales when it came to her personal life. In 1940, she became aware of a destitute family that she knew in Ireland who were looking for someone to adopt their infant identical twins. The children had been born to an irresponsible father and an inept mother, and were in the care of their grandparents who were having trouble coping with the responsibility of raising four children. They arranged for a family friend from London, Pamela Lyndon Travers, to adopt both of the infant twins, at least that was their understanding. Travers was approaching her 40th birthday and had given up hope on finding a lasting relationship that might produce biological children. She was attracted to the literary lineage of the twins.

Trying to choose between two identical twins, P.L. Travers selected her adopted son Camillus based on advice from her astrologer. She refuseTrying to choose between two identical twins, P.L. Travers selected her adopted son Camillus based on advice from her astrologer. She refused to take them both.The twins were the grandchildren of Joseph Hone, an Irish writer and the biographer of poet W.B. Yeats, Travers's idol whom she knew personally. Upon her arrival in Ireland, Travers chose to adopt only Camillus Hone, but not his twin brother Anthony, subsequently splitting up the pair. She based which one to choose on the advice of her astrologer, who had advised her to select the first-born boy. While Camillus Hone (pictured at right with Travers in the 1940s) was whisk off to a life of wealth and privilege in London, his brother Anthony was left to be cared for by neglectful relatives. "Pamela Travers saw herself as Mary Poppins and thought she could play Poppins with poor little Camillus," says the boys' oldest brother, Joseph Hone. "I don't think Travers was fit to bring up children." Appalled by her new son crying at night, at one point Travers considered sending the infant to a babies home in Tunbridge Wells. She eventually got along better with the child, but still shipped him off to boarding school while she continued to focus on her career. -Telegraph.co.ukThe twins reunited at age seventeen when Tony showed up unannounced on P.L. Travers's doorstep to meet his brother Camillus. Travers had previously told Camillus that he was her own and that his father had died of an accident in the colonies where he was a wealthy sugar magnate. The two brothers had little in common other than a fondness for alcohol and would only see each other occasionally in the years that followed. Camillus eventually developed a drinking problem and spent six months in prison after being arrested for driving drunk without a license. His twin brother Anthony would also develop an alcohol problem, which would cost him his family and his career in public relations. Prior to Anthony's death, his ex-wife Frances would tend to his basic needs as she listened to him "moaning" about his brother's good fortune. -DailyMail.co.ukIronically, Camillus's widow, also named Frances, says that he had been left "disappointed and sad" after being made aware that he had been plucked from his natural family. "He would have liked to belong to them because they were artistic and interesting, and as he grew up he didn't have any brothers, sisters or aunts and uncles, or a Daddy — only her." -DailyMail.co.uk

影片开头我看到了一个很难缠的作家Mrs. Traverse。

人家把行李架的位置让给他，她却嘲笑人家抱着婴儿坐飞机，她不满意迪斯尼公司给她配的司机，把迪斯尼公司摆在她旅馆房间的娃娃都塞到柜子里，甚至把水果篮里面的梨扔到了楼下泳池里。

等到她去到公司，见到了迪斯尼先生，她说：Mary Poppins 和Mr. Banks就像她的家人一样。

跟迪斯尼公司的人合作开始共同改编她的故事，她的性格依然让人难以接近。

用秘书的话说“她很有想法”，讨论部分要录音，编剧不过说了一句“那又怎样”就被她撵出了办公室，电影中不能使用动画角色，甚至，不能使用红色。

电影的三个编剧非常努力的想谱出令她满意的曲子，最后他们终于做到了，但就在她终于随着曲子起舞说出了满意的话时，又因为电影中可能用到企鹅动画这件事愤然离去，直接坐飞机回到英国。

迪斯尼先生才发现，她一直装在包里的合同从没签过字。

至此，插叙的部分也完成的差不多了。

观影人也能了解到Mrs. Traverse小时候有一个很疼爱她但却戒不掉酒的酒鬼老爸。

Mr.Traverse也曾经是一家银行的行长，但是因为嗜酒，他曾在办公室里跟同事吵架，在演讲中丑态百出，忘记自己女儿的年龄。

后来他终于病倒，我们也猜到，Mrs.Traverse讨厌红色也许是因为父亲病后常常吐血。

她忍受不了梨子是因为，等她终于攒够钱给父亲买梨吃，回来却发现父亲已经死了，而不是像他承诺过那样，会一直在。

迪斯尼先生跟到了Mrs.Traverse英国的家，他终于明白Mr.Banks其实就是她的父亲。

影片最后，在《Mary Poppins》上映的时候，Mrs.Traverse终于忍不住热泪盈眶，这是她用来纪念她的父亲的故事，虽然糟糕，但是深爱的父亲。

每个人的性格都不是一蹴而就的，有些被我们定义为莫名其妙的性格，也许再多点宽容，多了解一下，我们就会发现这性格背后的故事，也许无奈，也许悲伤。

「Winds in the east, mist coming in, like something is brewing, about to begin. Can't put my finger, on what lies in store, but I feel what's to happen all happened before.」「The rain bring life. → So does the sun.」「This world, it's just an illusion, Ginty old girl. As long as we hold that thought dear, they can't break us. They can't make us endure their reality. Bleak and bloody as it is. Money. Money, money. Don't you buy into it, Ginty. It'll bite you on the bottom.」「Serves me right. Money, money, money. It bit me on the butt.」「Disappointments are to the soul what the thunderstorm is to the air.」「♫Let's go fly a kite. Up to the highest height. Let's go fly a kite. And send it soaring. Up through the atmosphere. Up where the air is clear. Oh, let's go fly a kite.♫He... he fixes the kite. Oh, I love it.」「You expected me to disappoint you, and so you made sure I did. Well, I think life disappoints you, Mrs. Travers. I think it's done that a lot, and I think Mary Poppins is the only person in your life who hasn't.」「I'm tired of remembering it that way. Aren't you tired too, Mrs. Travers? Now we all have our sad tales, but don't you want to finish the story? Let it all go and have a life that isn't dictated by the past? It's not the children she comes to save. It's their father. It's your father.」「Forgiveness Mrs. Travers. It's what I learned from your books.↓I don't have to forgive my father. He was a wonderful man.↓No, no. You need to forgive Helen Goff. Life is a harsh sentence to lay down for yourself.」「George Banks and all he stands for will be saved. Now, maybe not in life, but in imagination. Because that's what we storytellers do. We restore order with imagination. We instill hope again and again and again.」「Aren't you going to pour it for us?↓You're perfectly capable of pouring it yourself.↓She's quite the worst maid I've ever had.（So why do you keep her?）I don't know. She reminds me of me.」「This is your night. None of this would be possible without you.」「Don't leave me. → Never. I promise. I will never leave you.」「Winds in the east, mist coming in, like something is brewing, about to begin. Can't put my finger, on what lies in store, but I feel what's to happen all happened before.」

也许是拍摄手法的缘故，电影本身容易让人没有耐心看下去。

但在我看来，一部让人看着开心和温情的电影就是一部好电影，更恰当的说法也许是选了一个好故事。

很喜欢电影中的一句话，现实也许让我们失望，但我们通过想象力去获得救赎！

Maybe this is why the movie was named !也许这更是电影存在的意义。

对玛丽的原作者PL特拉弗斯来说，班克斯先生为了能给她的女儿一个充满爱意的舒适的吻，会把胡子剃的干干净净。

而在沃特心中，他的班克斯先生却是有着小胡子的，虽然这样的形象的改变让特拉弗斯来说不能容忍。

事实上，每个人都有自己的班克斯先生，每个人都有自己的故事。

班克斯先生到底有没有胡子也就显得并没有那么重要了。

重要的是，就算现实很残酷，但至少在我们的想象中，班克斯是一位温情的父亲，最终他的病也痊愈了，带着他的孩子们放飞风筝！

特拉弗斯最终放下了她不开心的回忆，选择继续生活和想象！

这部片，我很久前下好了，扔在硬盘里就没有管它，一同扔进去的还有《间谍之桥》，因为他们都有同一个名字，汤姆 汉克斯。

一直没看，是因为从中文译名上看，是一部关于梦想的励志电影，也没去细查介绍。

作为一个年过四十的中年人，最不需要的就是励志类型电影。

它就这样被误解着呆在硬盘里做片荒备胎。

直到有一天，我整理电影时，准备删除时点开看了一眼……第一幕，蓝天，花园，女孩，诗歌，钢琴。

嗯，好像真的是和梦想有关的电影。

但是，这是一部拧巴的电影。

你以为这是一部和梦想有关的电影时，他马上就把梦想毁的稀巴烂。

第二幕，老女人，门铃响。

她直勾勾的盯着你，皱眉，神色拧巴。

最终，起身，整理衣物，开门。

然后吟出了一句和樱花有关的诗句。

我以为她在乎别人眼中的形象，文艺温柔，可偏不。

她其实坚持自己的看法，不顾他人感受，尖酸刻薄。

女主演，艾玛·汤普森。

第一次看她的电影，是那部1993年的《以父之名》。

神奇的1993年，我在前面的一篇日记里提到过，那一年，Nirvana开了一场可能是至今最具人性的一场演唱会Unplugged In New York，那一年，大天使赫本离开人间，那一年，小雪落凡尘。

从前10分钟艾玛·汤普森的表现，可以判定这是一部水准不低的佳作。

甚至有人呼吁让她拿奥斯卡最佳女主。

可惜，那年的最佳女主角是凯特·布兰切特。

至于汉克斯，正常水准发挥。

但是编剧真的是好，常见的双线结构，前面埋的小线索在后面都可以找到答案，给人不太伤神的观影体验，但又处处给你拧巴着。

比如，开篇的父亲，温和，童趣，但实际是个暴躁、酗酒的失意男。

但是，他的双面形象立住了，后面的戏才能展开。

比如，艾玛·汤普森坚持不吃梨，电影里不能出现红色。

后面的一幕中，父亲失业回家带给妻子一个梨，晾晒的一堆白色的衣物中，有一件醒目的红衣服，我以为会有高潮出现，对不起，让你失望了，没有。

比如，汉克斯坚持Mr.Banks形象上有胡子，艾玛·汤普森坚持没有，再加上父亲刮胡子的镜头，很容易让观众能够猜到，两人都想让Mr.Banks赋予某种符号，对艾玛·汤普森来说是她父亲，对汤姆 汉克斯来说是他自己。

我以为后面会出现她女儿来一段父女情深的戏码，对不起，没有。

影片还是那种对抗——和解的标准戏码，不出人意表。

但是，感动我的是一个个小的细节。

艾玛·汤普森喜欢“放风筝”部分，怎么表达呢？

——她的脚在动！

坚硬刻薄的她是否还藏有柔软？

——她对玩偶说话，后来又带回英国家中！

这些细节在片中比比皆是。

为什么坚持不要动画？

为什么要坚持“Saving Mr. Banks”？

一来他的确是一个好父亲，二来幼小的汤普森无意中拯救过父亲一次。

（其实她真正努力并成功拯救一次的是她的母亲）。

她希望一切能重新来过。

她几乎成功了。

就是那段“最后的演说”。

可是，她发现拯救几乎是不可能的，所以她对使用动画怒不可遏。

但是，最终拯救了吗？

有了一部电影而已。

不是Saving Mr. Banks，而是Saving Miss. Banks，是她自己和过去的充满悔恨内疚的自己和解而已。

如果你是一位父亲，人生再不如意，看看这部电影吧。

它告诉你怎样全力尽好一个父亲的职责。

这不是关于梦想的电影，是关于坚持和拧巴的电影。

语文老师讲过, 做阅读理解文章要分成三个层次. 你能读得越深答题得分越高.而marry poppins, 就是你的考题. 而saving mr banks, 就是答案解析.question:marry poppins是来拯救谁的?大多数人的答案是,children. 对没错, marry把严酷的父亲,政治狂母亲转变过来, 让孩子们过上幸福生活. 但是语文老师讲过, 有些时候可以从题目发现主题,saving mr banks, marry其实是来拯救孩子们的父亲,mr banks的. disney从美国加州跑到英国伦敦来说服pamla, 或者mrs traverse, 或者kindy, 他说, give it to me, trust me, they will see mr banks is being saved. 可是disney又说了, forgiveness, it's what i learnt from your book. 爸爸让kindy一次次的失望了, 姑妈也骗她没有把她最爱的爸爸救好. kindy的childhood充满着失望和不完整, 她需要用一种方式,让自己疗伤, 童年的痛苦别人帮不了她,她只能自己来拯救自己. 有时候自己会在想,为什么别人给你造成的伤害,需要自己去弥补? 可是我除了自己想办法自我治疗之外, 真的再也想不出别的方法了. 你不能奢望那个伤害你的人来向你道歉,再说也晚了, 伤口已经留在心上或者身上了. disney拍这部电影跟pamla写marry poppins的原因一样, 为了原谅,forgive. 而原谅, 是最好的药. 只可惜我自己还没能做到. 有时候会在心里无声的呐喊, 我那么的努力想让我自己走出阴影, 可你为什么还要一次次的伤害我让我失望. 你这些行为对我的影响有多大你还没发现吗? 就算这样我也没办法阻止他, 只好继续一个人的疗程, 用书本, 用电影去说服自己, 去原谅.其实电影本身不是去save mr banks,而更应该是save myself.电影本身的缺点是太程式化了,总觉得这是又一部格式电影, 所有剧情的推进都是设计好的. 不管怎么说Emma Thompson的尖酸刻薄老女人形象和tom hanks的阳光逗比美国人形象的对比做的还是很到位的. 就算有缺点, 但是who care?!第一篇影评就献给你了, 好久没写文章了总觉得心中好多feeling表达不出来...TAT