年轻的维多利亚 The Young Victoria7.3

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• 林萌萌

  故事選了不陌生的維多利亞女皇，選上了她年輕的時段，講述了皇室兩位好人的美好契合。從角色的性格中，找不到大的缺點，勇敢有責任感真性情。這樣的性格，在沈悶卻華麗的皇宮中，尤其突出，因此也特別討好。 公主還未登基前，備受各方的壓力，想她放棄未來作為君主的統治權，容許別人攝政。這也不難理解，一個年輕女生在一大堆狼豹之間，連最親的母親也被野心之人所操控。可是即使力量似乎微弱，公主的心還是堅定，即使不是百分百有信心，她卻有那份為人民服務的心。 在一堆各懷鬼胎的人周旋在側之時，有一位被秘密委以任務的人走進公主的生活。不過他倆都是不甘被操控的人，加上相似的背景與性格，讓他們互相吸引。在似乎不可能的狀態下，他們開始了不肯定卻真心的交心過程。 用現代的詞語形容，這段感情是遠距離戀愛。公主迅速地變成女王，身邊更多人出現，工作也更繁忙。相較之下，男方閒得多；加上身分有別，不容許他開宗明義地向女方表達愛意，讓男方變成等待的一方。幸好是雙方不認為這是段不平等的愛戀，而結果也成功走在一起，結為夫婦。 我想女王在登基時體驗了自由，而結婚時她體驗了幸福。女王可以順利找到真心相愛的人，何其不容易，也何其幸運。 不過，閒下來始終會造成問題的。親王好意的幫忙，在女王的不放心下，成為了侵越權力的干預。果真在女強男弱的婚姻關係，容易產生這種問題。正值僵持時，想不到會出現一個電影得很的轉折情節，修復了兩人的關係，讓兩人達到一個平衝的關係，徹底的解決問題。 故事選了不陌生的維多利亞女皇，選上了她年輕的時段，講述了皇室兩位好人的美好契合。從角色的性格中，找不到大的缺點，勇敢有責任感真性情。這樣的性格，在沈悶卻華麗的皇宮中，尤其突出，因此也特別討好。 公主還未登基前，備受各方的壓力，想她放棄未來作為君主的統治權，容許別人攝政。這也不難理解，一個年輕女生在一大堆狼豹之間，連最親的母親也被野心之人所操控。可是即使力量似乎微弱，公主的心還是堅定，即使不是百分百有信心，她卻有那份為人民服務的心。 在一堆各懷鬼胎的人周旋在側之時，有一位被秘密委以任務的人走進公主的生活。不過他倆都是不甘被操控的人，加上相似的背景與性格，讓他們互相吸引。在似乎不可能的狀態下，他們開始了不肯定卻真心的交心過程。 用現代的詞語形容，這段感情是遠距離戀愛。公主迅速地變成女王，身邊更多人出現，工作也更繁忙。相較之下，男方閒得多；加上身分有別，不容許他開宗明義地向女方表達愛意，讓男方變成等待的一方。幸好是雙方不認為這是段不平等的愛戀，而結果也成功走在一起，結為夫婦。 我想女王在登基時體驗了自由，而結婚時她體驗了幸福。女王可以順利找到真心相愛的人，何其不容易，也何其幸運。 不過，閒下來始終會造成問題的。親王好意的幫忙，在女王的不放心下，成為了侵越權力的干預。果真在女強男弱的婚姻關係，容易產生這種問題。正值僵持時，想不到會出現一個電影得很的轉折情節，修復了兩人的關係，讓兩人達到一個平衝的關係，徹底的解決問題。

• kayn
  
  
  
  
  
  
  
  
  

  为什么一定要140个字啊？只是单纯想发一下，当时我在这部电影的截图。好吧，最近去看了维多利亚的艺术展。有很多女王的东西，美好爱情的背后有一地鸡毛，维多利亚一生和亲王生了八个小孩，后面亲王去了，维多利亚有非常多的小孩需要照料，并且忙于政事，后面的形象变得非常肥胖和疲惫......这部电影从人物传记的角度来说，是失败的。但是就单纯于我个人观看视角来看，它给我塑造了一个非常符合我择偶标准的英伦绅士男主。

  觉得这一部是男演员的颜值巅峰，后来还是同一张脸，但是感觉没有这么帅。男主他与维多利亚有感情基础，并且他聪明（聪明在可控范围内）稳重有责任心，帅气（不过这已经是最末端的品质了）

  （有一段时间很喜欢大英帝国的贵族文化，现在知道“朱门酒肉臭，路有冻死骨”。）是以为现代最有贵族精神的是亚历山德拉公主

  
  

  不过说白了就几句话，勤奋公务，克制、谨慎，具备传统的公主素质。对王室忠诚高于一切，以王室责任和荣誉感为上，用冷静和优雅，用敬业与坚韧，经受住岁月的考验。

  其实还是受儒家的中庸思想影响很重，认为“克制即文明”。

  希望个人能做到的要求心境平和、克己坚韧。

  所以为什么那么喜欢男主，因为他符合了我个人需求的情感投射。

• 他他
  

  THE YOUNG VICTORIA is the late Canadian filmmaker Jean-Marc Vallée’s Hollywood calling card, his 5th feature film and a star vehicle for Emily Blunt. Penned by Julian Fellowes, this cinematic reimagining of the salad says of Queen Victoria (1819-1901) resolves prominently around the affair of the heart between her and her consort, Prince Albert (1819-1861) while the future “grandmother of Europe” makes baby steps to wield her independence among the court intrigues from all parties.

  It is, as expected, a respectable encomium of a monarchy’s grandeur and its young monarch’s moxie. With its palatial locations, superfine fineries and sumptuous settings, the film unspools as if on cruise control from one spectacular scene to another, unpretentiousness is its most striking character. Those historically accurate, impeccably selected and manufactured artifacts and costumes are moderately lit (often exquisitely candlelit) with a subdued golden sheen and have a “just there” quality as they are part of the furniture, resisting taking audience’s attention away from the human objects, most of whom are hobbled by formality and good breeding, leaving a lot to be desired. Only Broadbent’s King William IV is able to unleash his hissy fit as he knows his days are numbered, respectability can barely contain his fury over the Duchess of Kent (Richardson, ill cast as an out-of-place puppet at the beck and call of Sir John Conroy), Queen Victoria’s mother. Also, the Regency controversy is quite maladroitly handled, why Sir John Conroy (Strong) act like a maniacal bozo as if he doesn’t know any basic tactics?

  Since there are low stakes at hand, even the lover’s spat when Albert (Friend, a passable actor, whose dreadful elocution prevents him from his own ascendancy in the Hollywood) steps on her toes, is easily mollified after a fictitious heroic action, audience can feel safe in the knowledge that the film is incapable of making a great fuss of anything radical apart from Victoria’s ascension into her own personhood, which is really not something particularly film-worthy, after all she is a queen secured and perching on a pedestal, if not for her status and all the royalty trappings.

  Vis-à-vis Blunt, who can be put into best use when there are tricksy naughtiness or idiosyncrasies in her character, which cannot be found in this film. She holds her own solidly against the solemn business of men’s statesmanship, but where are Victoria’s own personalities? That is the missing ingredient from the film and Fellowes’ all-too-reverential and glottophobic script (why Prince Albert insists speaking English even with his own brother? Both were born and raised in Saxe-Coburg and Gotha).

  As far as a prestige costume drama goes, THE YOUNG VICTORIA is keenly aware of what its audience’s predisposition and shrewd enough to put money into sensible use, but in the dramaturgic aspect, it errors on the side of being in awe of its own lofty subject.

  referential entries: Stephen Frears’s VICTORIA & ABDUL (2017, 6.3/10); Vallée’s WILD (2014, 5.8/10), C.R.A.Z.Y. (2005, 8.3/10); Stephen Frears’s CHÉRI (2009, 6.5/10).

  Title: The Young Victoria

  Year: 2009

  Country: UK

  Language: English, German

  Genre: Biography, Drama, History, Romance

  Director: Jean-Marc Vallée

  Screenwriter: Julian Fellowes

  Music: Ilan Eshkeri

  Cinematography: Hagen Bogdanski

  Editors: Jill Bilcock, Matt Garner

  Cast:

  Emily Blunt

  Rupert Friend

  Paul Bettany

  Miranda Richardson

  Mark Strong

  Jeanette Hain

  Thomas Kretschmann

  Jesper Christensen

  Harriet Walter

  Jim Broadbent

  Julian Glover

  Michael Maloney

  Michael Huisman

  Genevieve O’Reilly

  Rachael Stirling

  Josef Altin

  Tom Brooke

  Rating: 6.6/10

• 杀猪的如诗如歌般美丽，让人心绪宁静。