Melodrama detailing the real-life love affair between feminist writer Vita Sackville-West (Janet McTeer) and novelist Violet Keppel (Cathryn Harrison) against the backdrop of post-World War I England and opposition by Vita's politican husband Harold Nicolson (David Haig). Vita and Violet's romantic relationship becomes increasingly obsessive which spawns destructive feelings of...
(1) Violet Keppel, Don't Look Round (1952)
No one had told me that Vita (Sackville-West) had turned into a beauty. The knobs and knuckles had all disappeared. She was tall and graceful. The profund, hereditary Sackville eyes were as pools from which the morning mists had lifted. A peach might have envied her complexion. Round her revolved several enamoured young men.
(2) Vita Sackville-West, Autobiography (1920)
I hate writing this, but I must, I must. When I began this I swore I would shirk nothing, and no more I will. So here is the truth: I was never so much in love with Rosamund as during those weeks in Italy and the months that followed. It may seem that I should have missed Harold more. I admit everything, to my shame, but I have never pretended to have anything other than a base and despicable character. I seem to be incapable of fidelity, as much then as now. But, as a sole justification, I separate my loves into two halves: Harold, who is unalterable, perennial, and best; there has never been anything but absolute purity in my love for Harold, just as there has never been anything but absolute purity in his nature. And on the other hand stands my perverted nature, which loved and tyrannized over Rosamund and ended by deserting her without one heart-pang, and which now is linked irremediably with Violet. I have here a scrap of paper on which Violet, intuitive psychologist, has scribbled, "The upper half of your face is so pure and grave - almost childlike. And the lower half is so domineering, sensual, almost brutal - it is the most absurd contrast, and extraordinarily symbolical of your Dr Jekyll and Mr Hyde personality." That is the whole crux of the matter, and I see now that my whole curse has been a duality with which I was too weak and too self-indulgent to struggle.
(3) Violet Trefusis, letter to Vita Sackville-West (March 1919)
My own sweet love, I am writing this at 2 o'clock in the morning at the conclusion of the most cruelly ironical clay I have spent in my life.
This evening I was taken to a ball of some good people. Chinday had previously told all her friends I was engaged so I was congratulated by everyone I knew there. I could have screamed aloud. Mitya, I can't face this existence. I shall see you once again on Monday and it depends on you whether we shall ever see each other again.
It is really wicked and horrible. I am losing every atom of self-respect I ever possessed. I hate myself. 0 Mitya, what have you done to me? 0 my darling, precious love, what is going to become of use
I want you every second and every hour of the day, yet I am being slowly and inexorably tied to somebody else... Sometimes I am flooded by an agony of physical longing for you... a craving for your nearness and your touch. At other times I feel I should be quite content if I could only hear the sound of your voice. I try so hard to imagine your lips on mine. Never was there such a pitiful imagining.... Darling, whatever it may cost us, my mother won't be cross with you any more. I suppose this ridiculous engagement will set her mind at rest....
Nothing and no one in the world could kill the love I have for you. I have surrendered my whole individuality, the very essence of my being to you. I have given you my body time after time to treat as you pleased, to tear to pieces if such had been your will. All the hoardings of my imagination I have laid bare to you. There isn't a recess in my brain into which you haven't penetrated. I have clung to you and caressed you and slept with you and I would like to tell the whole world I clamour for you.... You are my lover and I am your mistress, and kingdoms and empires and governments have tottered and succumbed before now to that mighty combination - the most powerful in the world.
(4) Nigel Nicolson, Portrait of a Marriage (1973)
She (Vita) didn't know how strong and dangerous such passion could be, until Violet replaced Rosamund. Of course she knew that "such a thing existed", but she did not give it a name, and felt no guilt about it. At the time of her marriage she may have been ignorant that men could feel for other men as she had felt for Rosamund, but when she had made this discovery in Harold himself, it did not come as a great shock to her, for she had the romantic notion that it was natural and salutary for "people" to love each other, and the desire to kiss and touch was simply the physical expression of affection, and it made no difference whether it was affection between people of the same sex or the opposite.
It was fortunate that both were made that way. If only one of them had been, their marriage would probably have collapsed. Violet did not destroy their physical union; she simply provided the alternative for which Vita was unconsciously seeking at the moment when her physical passion for Harold, and his for her, had begun to cool. In Harold's life at that time there was no male Violet, luckily for him, since his love for Vita might not have survived two rivals simultaneously. Before he met Vita he had been half-engaged to another girl, Eileen Wellesley. He was not driven to homosexuality by Vita's temporary desertion of him, because it had always been latent, but his loneliness may have encouraged this tendency to develop, since with his strong sense of duty (much stronger than Vita's) he felt it to be less treacherous to sleep with men in her absence than with other women. When he was left stranded in Paris, he once confessed to Vita that he was "spending his time with rather low people, the demi-monde", and this could have meant young men. When she returned to him, it certainly did. Lady Sackville noted in her diary, "Vita intends to be very platonic with Harold, who accepts it like a lamb.' They never shared a bedroom after that.
比我年纪还大的一部短剧,BBC出的又一款经典,可以让人克服那个年代的渣画质。全剧四个小时,节奏紧凑。我几乎分不清这是爱情还是欲望还是什么。片子的元素乍一看有同妻、出轨、婚外恋、女女。要说Mar和Violet之间是爱情、是欲望、是想要占有对方,应该不会有人反对。但是Mar与她丈夫之间到底是一种什么感情,Violet与她丈夫之间又是什么关系,总感觉三言两语说不清道不明。一个人会同时爱上两个人吗?女主对丈夫是恋人还是朋友间的爱?Violet依旧与丈夫保持关系这是欲望的贪婪还只是逢场作戏?亦或者Violet真的没有对女主不忠?一切都是合约婚姻?每个人对这些关系的理解肯定不尽相同。在我看来,女主与丈夫友大于爱,Violet是一个诱惑人的小妖精,及时行乐,追求欲望的满足。两位丈夫都还算绅士,虽然有对妻子有所不满,却仍然关心爱护与尊重他们。
剧情有起有伏,起伏中突出了女主对追求真爱放弃婚姻这一决定的摇摆不定,也为最后决定离开家庭铺垫了许多,使得她们两个之间的感情表现得更加浓烈。四个人之间的关系往往被拆成三个人一起展示,角色间有制衡,使戏剧张力更强。
我羡慕剧中那种觉得失去彼此就不能活的神仙爱情,可能正因为我没有得到过如此热烈的爱情,我才无法理解眼里容不得一点沙子那般对身体忠诚的洁癖。
几点碎碎念,
1. 羡慕这两个人的关系,友情以上,soulmate的感觉,加之亲情。难怪Vita对Violet坦白她incapable of being faithful的时候却说唯独一直深深爱着Harold. 港真这难道不是形婚的最高境界吗!!!
2. Janet McTeer太棒了,与看完vita & virginia的感受截然相反,这版vita完全勾起了我想要了解这个女人的欲望。
3. 最后一段感觉dramatize过头了,不知道真实情况什么样的,需要看原著再自己慢慢挖掘吧。没想到Vita占有欲这么强,得知女朋友和自己合法老公睡过就要死要活的,各种锤墙掐人放狠话,相比起来我们煤老板就隐忍多了,被情人的老公间接传染了性病也只能打碎牙齿和血吞。。。(误) 还不认识煤老板的给一个传送门: //www.douban.com/doubanapp/dispatch/movie/26989670
4. Vita Sackville-West有被译成中文的作品吗?大致找了一下,约莫一部也没有?!书信集可以先翻起来,天啊这几个人都是那么的能写,感觉阅读量巨大。。
5. 这个Vita我太可以了让我流一会儿鼻血...连Harold都忍不住夸穿着马裤的Vita好帅...
四個人的悲劇⋯⋯
Harold總說Violet is poison,但是在我看來,最poison的可能是Vita。Vita自己也說,她最愛的是自己,這也是為什麼她在這兩段關係裡顯得被動又寡斷,對兩個人都無法敞開心扉,完全信任。或許他是知道,但由於愛得過於深切,抑或是想要逃避殘酷的現實,以至於將一切都歸罪於Violet。
儘管很同情這兩位男性的遭遇,但是還是很反感他們身上流露的一些男權社會的思想。Denys自信於Violet終歸會嫁給他,Harold認為Vita在家種花育兒便是快樂的,等等。
我個人其實很不喜歡Vita,她對待Violet的態度,無論是得知Violet要結婚後將她拽入房中,還是後面掐著Violet的臉質問房事,都讓我反感,彷彿Violet之於她只是一件物品。
Violet的率性和勇敢,倒很是令我感動。她有那種飛蛾撲火的熱情,她大方承認自己的「邪惡」、自己的隨心所欲,相比之下,Harold顯得怯懦多了。這或許也是Vita醉心於她的原因之一吧,like drug in tedious life。
她們倆是絕配的,但我覺得肯定也只能是短暫的,一個燃燒得過於熾烈注定難以長久,而另一個無法承諾長久。
從一開始,或許就已經能望到結局。但人生難道只求一個結果嗎?
为身为女人的身不由己而叹息,以往看Vita和Virginia了解的物料,以为Vita生性自由而放浪,她丈夫也是难得的思想开明......这部剧集倒是让我看到了Vita的挣扎和软弱。嫉妒发狂的对Violet施加暴力甚至强奸了她的Vita实在太有男性气概了,相当病态,而Harold这样的伪君子,竟有脸控诉Vita自私冷漠、残酷且疯狂,Vita确实如此,但这些指控也只有Violet才有权提出。呵男人,伪装得再怎么体面也还是那种觉得自己对妻子有所有权的男人,特别会道德绑架,特么的他自己还在外面搞男人搞出病来呢,挑拨离间可真拿手,装正人君子更是熟练。
这对夫妻太硬核了,if your gay husband really loves you, then it might be the masculine qualities or "manliness" in you that attracts him, in other words, 你有可能有潜质做个T。这个Vita比vita&virginia里那个强大太多,Janet McTeer我可以
一段般配婚姻的丑陋肖像。(全程都在思考为什么Vita和Violet的昵称是Митя和Лушка,最初甚至错以为是ложка,心想“小勺子”也太可爱了吧!)
看完愤怒得想砸键盘,我从来、从来不反对所谓渣男渣女,但Vita最后简直是人渣行为了。她和她丈夫,一个伪善,背后传谣,一个粗暴、易怒、直男癌到无药可救,她自己可以全都要夫贤子孝对Violet却“只要你(指Violet的丈夫)碰过她,我发誓这辈子都不会再见她”——老天,Violet是你的所有物?是漂亮纯洁驯服的人偶?强烈的疑心病和占有欲叫她丝毫不信(更不体谅)爱人,最后还摆出受伤的姿态——你受了什么伤?那个蓬头垢面满脸泪水还试图向你解释的女孩算什么?向你献出所有的爱还被强暴、被扼住喉咙、被斥责,你为她受的伤道过一句歉吗?你分明毁了她。Violet的丈夫(可怜人!)是唯一保持高尚道德的,保留了最后的诚实、体面,可惜不被爱。他和Violet都是受害者,大概热切无我的爱都是叫人受伤的。
看过以后我就理解为什么Virignia Woolf会被Vita迷住了。另外Janet McTeer简直和历史上的Vita长得一模一样!而且Janet太该演一下Virginia Woolf了,太有那种气场了!演技太赞了!
真是无了敌了。上世纪初的自由开放和礼节度比这个世纪初牛叉闪闪太多了!还是只是我孤陋寡闻,……不过倒也是,若没有这样一位儿子把他父母的这一切公诸于众,谁又会知道那么多惊世骇俗的细节。btw, Janet McTeer有这么帅,倒是完全没预料到,虽然理智与情感里就觉得那双眼睛很被遗传
一对中年贵族夫妇有两子,先男的变弯接着女的变拉拉,这样的故事别说当年的英国就是现在也是绝对先锋。年轻时爱看这样的电影,爱原来如此多层次丰富热烈,现在看来都一样。就像金钱总是引向罪恶,爱要么是嫉妒要么是麻木,无关性别
颜值明明跟的上 剧情槽点多 装束更是不忍看 不方便做爱
不愧是腐国!1990年就拍出了如此神展开且大胆的电视,更难得的是根据现实改编的,原作是女主人公的儿子写的,女主还是伍尔芙的情人《奥兰多》的原型,只怕现实比电视还要精彩。另外演员演得太好,太有感染力,看得呼吸不过来了,Janet把一个纠结的渣攻诠释得淋漓尽致。
30年前的戏,演员演技可圈可点,戏剧冲突精彩纷呈。不愧是腐国,三观不断被刷新,一次再一次的被惊掉下巴,可能,现实比剧里还精彩吧。也就VITA这种集俊和美于一身的人,才有资格渣吧😂可能就是所谓的charming,致命诱惑呀。无数次的歇斯底里的疯狂正是极爱的表现吧?看得我都没力气去爱了……英国男人也确实足够克制绅士。另外你搞基来我搞姬的开放式婚姻真是……够开放的……需要多广大的心胸啊!
男女主角的演员Janet McTeer和David Haig都与历史上的Vita和Harold非常相像。尤其是Janet McTeer,演得太好了,把Vita的狂野不羁、疯狂,还有她最后的愤怒与悲伤诠释得入木三分。如果这就是真实的Vita Sackville-West,谁能不爱她呢?(顺便总结一下主角们的称呼:Vita Sackville-West/Mitya/Mar/Victoria Mary Sackville-West/Mrs. Nicolson,Violet Keppel/Lushka/Mrs. Trefusis)
这部电影的名字应该改为 the ugly truth of a marriage between a gay and a lesbian. 尤其是第四部的结尾,两个女主闹翻竟然是Violet在婚后有没有和丈夫做爱,Vita和丈夫在这段的表现只能用ugly来形容了。对于这个问题的真实答案并不重要,重要的是为什么要问这个问题,和如何回答。从Denys最后改口的回答和他轻抚Vilolet的动作来看,他是真的很爱Violet.
第一集的告白并没有动人到神魂颠倒的地步。剧情由第三集往上扬升,女主声嘶力竭地想要对对面丈夫的质问可以有一个说的清楚的回应。她也确实表达出来了。事实是,她是诚实的,诚实到她真的不愿欺骗一切。而他人的悲剧,如果可笑的,那恰巧她知道,对于生活对于自己,悲剧一旦提起,就是妥协。
剧一般,演员贴切。看《不惧风暴》时恍惚觉得丘吉尔夫人和Tilda Swinton有些神似,果然Janet McTeer演过奥兰多的原型Vita Sackville West。剧中的Vita穿上长裤靴子散开半长卷发的时候,那简直是...要逼贤妻良母们走上弯路么。Violet在里面像只灵动的小狐狸,很符合奥兰多爱上的俄罗斯公主的形象。
我来解释一下这剧情有多么drama ,女主是les,老公是gay,然后他俩结婚了,然后老公跟女主说我得病了,我得病是因为我以前睡的都是男人,而你却是我最爱的女人。然后女主为打发寂寞把青梅竹马的发小兼情人请来了,俩爱的死去活来,但是老公就不乐意了,不停说我非常我爱你,哭的那个恶心,直到当备胎当到女主的情人也结婚了,俩男的备胎阻止俩女的在一起,但是情人的老公人品还不错,没有做什么出格的事,但女主老公人品真是无敌,不停说情人坏话,到最后致使女主和情人最终没能在一起,可悲的是女主还特别相信老公,总结:女主与老公都是自私鬼,最惨的是情人老公,其次是情人。btw,演老公的演员演的还特别出戏
激情和欲望令人失去理智,选择困难,现实阻碍,撕扯着一个两头都想要又不知道到底真的爱谁的女人,或者说她谁都不爱。love is messy,and horrible and selfish and bold. 不要跟已婚女人搅和在一起。
这才是文艺女青年互撩的正确打开方式!Vita & Virginia的导演完全可以看这部90年的小短剧学习一下如何解决文学与暧昧关系割裂的"两张皮"问题
形婚的历史反面教材,能忍受同夫沾花惹草染性病,不能忍女友婚内性生活。男主是被小变态杀在舞池的Bill
先看了薇塔与弗吉尼亚,再看这个觉得有点理解薇塔了,之前不明白为什么她会那么快就抛弃了弗吉尼亚,又去搜了别的文字介绍,只能说她不适于与别人长相厮守。聪明潇洒,有才华,开放婚姻,时时处于恋爱,还私奔,精彩的一生。
Vita得知自己的丈夫是Gay还染病回家都轻易原谅了他,但她听到Lushka的一点传言就崩溃发飙了,居然还真的很久没有联系,呵,女人