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更新时间：2023-07-21 05:43
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米尔德里德（琼·克劳馥 Joan Crawford 饰）的丈夫蒙特（扎查瑞·斯考特 Zachary Scott 饰）抛弃了妻子，也抛弃了他们的两个女儿。米尔德里德对大女儿维达（安·布莱思 Ann Blyth 饰）尤为溺爱，心中充满了愧疚，宁愿去做卑微的餐厅服务员也要让女儿吃好的穿好的过上等人的生活。在母亲的纵容之下，维达渐渐变成了一个眼中只有荣华富贵的女人。 在威利（杰克·卡森 Jack Carson 饰）和艾伯特（布鲁斯·本内特 Bruce Bennett 饰）的帮助下，米尔德里德终于拥有了属于自己的餐厅，一家人终于脱离了苦海，而米尔德里德在艾伯特的身上亦再度找到了爱的感觉。然而，随着时间的推移，米尔德里德发现维达似乎亦在有意无意的勾引着艾伯特，母女之间的感情出现了裂痕。
长篇影评
1 ) The Irreversible Role of a Mother
Certainly very dramatic, but it is also extremely entertaining. I cannot help but imagine what the men who just came back from the War would have felt about Mildred's character in the film. The portrayal of Mildred is also entertaining, much like the woman who were thrusted into work in the 40's, Joan Crawford's character is also thrown into the world of business. The theme of gender reversal in the movie is apparent, so is the symbolic representation of each character, all of which are well represented. Veda is perhaps the most snobbish character anyone can ever find. Despite all the social issues Mildred Pierce tries to address, it is all embodied within a well constructed and enthralling story.
2 ) 反千人一面
支持永远给美女挣脸的克劳馥！看到她的表演Gardner应该跳楼去。克劳馥的表演让我有一种很奇异的感觉。我一直认为，只有很少的演员能演出好几种不同的感觉，——再伟大的演员，无论演什么，一个表情一个皱眉一举手一转身，总有他自己的气质。有"千人一面"的悲剧。而克劳馥让我惊奇的原因是，她四十岁以后的角色里表现的软弱、无奈、真诚、脆弱，和她二三十时的骄横拔扈、强势、美艳、咄咄逼人，全都真实得让人觉得她一辈子都是这样的性格和气质。除了一样的脸，仿佛是两个人。除此之外，这部影片带给我的沉重感和对没落贵族的寄生生活的抨击就不多说了。
3 ) 乱纹中依稀的自画像——记琼克劳馥《欲海情魔》
无关交织的浓情密爱，无关风流委婉的华丽篇章，只有缀幽孤鸿的噙冷栖榕，只有父母心的灵犀与谆谆的告诫。浪漫主义教会吾们将人性的情意综放逐，而保守主义的至德则要求吾们悔恨欲海情魔的意态情衷。
米尔德是一介为了女儿不惜牺牲一切的母亲，她的性情化开阖的做派，她的单身家园的精神守护，都带有纵横四海的开拓意味。在和贝特的婚姻破裂之后，她仍旧铁了心卖命赚钱，以满足她的女儿——无知少女维达疯狂累牍的物质占有欲。维达说讨厌米尔德无休止的黄油气味，孰知米尔德的旷世情钟只聚焦于娇女一人，她自食其力的清奇俊朗的风骨好似鹤立鸡群的鹤，炼石补天中的石。阡陌意旨中的桀骜和单纯，米尔德但能在经济萧条的时代翻手为云覆手为雨，却不能左右女儿维达的骄纵。
伦理亲情亦没有流为伤感主义的滥情，抑扬顿挫的节奏感交织的是人物丝丝缕缕百孔千疮的内心。维达的自私自利，在于非但不知感恩，还背着米尔德与她的情夫贝尔葛幽会。
异化的情意综纠结着波澜意欲的无奈和放逐，维达在贝尔葛说明不会娶她之时将其失手杀死，米尔德还意欲构筑蒸笼棋局嫁祸他人，维护女儿，最终自顾为维达顶罪。
生命不会流于契阔和静默，人之依存的基石亦无放达之逸魄，爱欲的交织动容让人对于浮世绘有着共通的深刻惧惮。执迷于慈悲与容忍有时未免显得轻蠢，而世故欲的肆无忌惮的贲张则令人埋没素朴秉性，并将纵横勾勒的意态倥偬化为一道凄异的可怖。
母爱真的可以成就炼石补天中的石？再密切的血缘关系最终不过是异化的澹望，于后代的抚育是一种性灵的责任，但无论如何改变不了其独立个体的本质。一切的苛苦和妄言都是维达自找的，其自尊的贬抑和放逐的情意综都是其放旷人格所导致的必然。人之生命本应有所承担，而将一切行凶的责任推诸父母则是一种心智的萎靡化和钝化。
维达最终没有悔悟自身灵魂中的污秽。斥责无辜的母亲告知警官“真相”，也是其灵祗不张的胎儿化人格反应。其内心终究怀恨的是母亲芳华艳诗般的魔力，情感的欠磨砺欠雕琢让维达没有神智的警醒。
其就像一介未经教化而忌惮母亲怀璧其罪的醉醇浓者，始终缺乏灵犀的感悟，她所追求的不过感官情致的舒张与交际场触类旁通的虚浮自由。
她意欲以自身的音质卓绝掌控缥缈无期的男性世界，然而她发现可悲的幻梦正是由自己的轻狂草率支撑起的，没有清新可喜的天然本性之爱的交融，没有对于母亲米尔德身兼父职殊为不易的体悟，任性和敷衍让其执迷于欲海情魔的无道。
时代可以接纳米尔德式的回环往复的伤感，然而不会再容许维达灵感钝化的恣意放逐。
4 ) [Last Film I Watched] Mildred Pierce (1945)
Title: Mildred Pierce
Year: 1945
Country: USA
Language: English
Genre: Crime, Drama, Film-Noir
Director: Michael Curtiz
Writer: Ranald MacDougall
based on the novel of James M. Cain
Music: Max Steiner
Cinematography: Ernest Haller
Cast:
Joan Crawford
Jack Carson
Zachary Scott
Ann Blyth
Bruce Bennett
Eve Arden
Butterfly McQueen
Moroni Olsen
Jo Ann Marlowe
Lee Patrick
Veda Ann Borg
Rating: 6.9/10
Joan Crawford’s Oscar-crowning star vehicle, directed by Michael Curtiz, the Oscar-winner from CASABLANCA (1942), based on a novel from James M. Cain and centers on the checkered life of our titular heroine, a twice-married woman, a mother of two, an entrepreneur starts her restaurant business ex nihilo.
Ostensibly begins with a murder in the witching hour, the last word of the victim Monte Beragon (Scott), whom we later would know is Mildred’s second husband, is an exclamatory “Mildred!”, together with Mildred’s suicidal impulse and sequentially tries to frame Wally Fay (Carson), an old friend (who persistently makes romantic advances to her, twice a week), as the killer, handily inscribes Mildred’s name on the offender’s seat in viewer’s mind, then during the police interrogation, the narrative’s main constituents are big chunks of flashback told entirely and chronically through Mildred’s angle, not unlike Billy Wilder’s DOUBLE INDEMNITY (1944), Cain’s hard-boiled femme-fatale tall-tale.
Technically speaking, leaving out the murder scene (under the shades of striking chiaroscuro and atmospheric suspense), this film has barely any chromosome of film-noir in its vein and Mildred, is anything but a femme-fatale, what’s on offering is, firstly, a spirited story of a modern woman’s liberation from her domestic stereotype, following by a harrowing melodrama. Mildred is a tough gal, when she first husband Bert Pierce (Bennett) has an affair and loses his job, she has no hesitation to pull the plug of their marriage and takes it on herself to raising their two daughters Veda (Blyth) and Kay (Marlowe), starting from a menial job as a waitress. But, Mildred has her Achille’s heel, it is Veda, who is coddled by her unconditionally, which also causes the rift of her first marriage (and second as well), a rather discontent flavour in hindsight, is that we don’t get the motivation behind her indulgence of Veda from the word go other than her own characteristic foibles (which is further facilitated by mawkishly taking Kay out of the entire picture, pneumonia fails to take the bad seed), which insinuates that Mildred is awfully bad at being a mother, now one can see the picture: a woman can actively seek divorce, independence and become the bread-maker for her children, she also can have a successful career (however convenient the process seems according to the film), but she cannot have everything, she must has her clay of feet, and that falls upon to another woman, her young, angel-faced teenage daughter portrayed as a petulant, callous, stuck-up ingrate, whose utter resentment towards her mother also leaves no elucidation, thus, the only rationale is she is pure evil. That’s why it is very difficult to overlook its misogynous undertow in today’s view, a curse Mildred eventually breaks at the end but the sadistic approach is artistically unsavory, a sideline depiction of Eve Arden’s sharp-tongued Ida, a woman man intends to ignore because of her lack in sex appeal also comes off as a flea in the ear.
Of course, men aren’t better in every aspect in Cain’s cynical conception, wily and lecherous as Wally, decadent and obnoxious as Monte, prim and inadequate as Burt, on different scales, they are scourges of Mildred’s fix too, but some gets the comeuppance, some just doesn’t. Ms. Crawford gives a genuinely pulsating performance notwithstanding, even errs on the side of operatics, but the fine-line between good and great for an actress of her status is that, in the end of the day, she cannot afford to completely de-glamorize herself for the sake of her character, Mildred doesn’t need to be sexed up or gussied up, she is overall, a more head-headed type, but Ms. Crawford needs that, at the age of 39, she needs to reinforce her glamour not just by her acting bent, but her usual objectified sexual allure as well, which according to my lights, her own vanity and insecurity curtails the virtuosity of a well-rendered characterisation.
Blyth and Arden are both Oscar-nominated, the former banks on a meaty role reek of insidious perverseness and the latter is a rapier-like wise-cracker, only Mildred never listens to her. Zachary Scott, on the other hand, combines a scintillating veneer of alluring urbanity, rank snobbery and depravity, one cannot really begrudge why those two women of disparate nature would both fall upon his sophisticated spells (however momentary they are), but that’s the crux of MILDRED PIERCE, it appears more convincing in eliciting the unabashed rottenness from menfolk, but less so in its petticoat discord, which actually is the nexus of the entire tear-jerking enterprise, however scrumptious it may pander to ours eyes.
parallel comparisons: SUDDEN FEAR (1952) 7.1/10; CASABLANCA (1942) 8.9/10; DOUBLE INDEMNITY (1944) 8.2/10
Year: 1945
Country: USA
Language: English
Genre: Crime, Drama, Film-Noir
Director: Michael Curtiz
Writer: Ranald MacDougall
based on the novel of James M. Cain
Music: Max Steiner
Cinematography: Ernest Haller
Cast:
Joan Crawford
Jack Carson
Zachary Scott
Ann Blyth
Bruce Bennett
Eve Arden
Butterfly McQueen
Moroni Olsen
Jo Ann Marlowe
Lee Patrick
Veda Ann Borg
Rating: 6.9/10
Joan Crawford’s Oscar-crowning star vehicle, directed by Michael Curtiz, the Oscar-winner from CASABLANCA (1942), based on a novel from James M. Cain and centers on the checkered life of our titular heroine, a twice-married woman, a mother of two, an entrepreneur starts her restaurant business ex nihilo.
Ostensibly begins with a murder in the witching hour, the last word of the victim Monte Beragon (Scott), whom we later would know is Mildred’s second husband, is an exclamatory “Mildred!”, together with Mildred’s suicidal impulse and sequentially tries to frame Wally Fay (Carson), an old friend (who persistently makes romantic advances to her, twice a week), as the killer, handily inscribes Mildred’s name on the offender’s seat in viewer’s mind, then during the police interrogation, the narrative’s main constituents are big chunks of flashback told entirely and chronically through Mildred’s angle, not unlike Billy Wilder’s DOUBLE INDEMNITY (1944), Cain’s hard-boiled femme-fatale tall-tale.
Technically speaking, leaving out the murder scene (under the shades of striking chiaroscuro and atmospheric suspense), this film has barely any chromosome of film-noir in its vein and Mildred, is anything but a femme-fatale, what’s on offering is, firstly, a spirited story of a modern woman’s liberation from her domestic stereotype, following by a harrowing melodrama. Mildred is a tough gal, when she first husband Bert Pierce (Bennett) has an affair and loses his job, she has no hesitation to pull the plug of their marriage and takes it on herself to raising their two daughters Veda (Blyth) and Kay (Marlowe), starting from a menial job as a waitress. But, Mildred has her Achille’s heel, it is Veda, who is coddled by her unconditionally, which also causes the rift of her first marriage (and second as well), a rather discontent flavour in hindsight, is that we don’t get the motivation behind her indulgence of Veda from the word go other than her own characteristic foibles (which is further facilitated by mawkishly taking Kay out of the entire picture, pneumonia fails to take the bad seed), which insinuates that Mildred is awfully bad at being a mother, now one can see the picture: a woman can actively seek divorce, independence and become the bread-maker for her children, she also can have a successful career (however convenient the process seems according to the film), but she cannot have everything, she must has her clay of feet, and that falls upon to another woman, her young, angel-faced teenage daughter portrayed as a petulant, callous, stuck-up ingrate, whose utter resentment towards her mother also leaves no elucidation, thus, the only rationale is she is pure evil. That’s why it is very difficult to overlook its misogynous undertow in today’s view, a curse Mildred eventually breaks at the end but the sadistic approach is artistically unsavory, a sideline depiction of Eve Arden’s sharp-tongued Ida, a woman man intends to ignore because of her lack in sex appeal also comes off as a flea in the ear.
Of course, men aren’t better in every aspect in Cain’s cynical conception, wily and lecherous as Wally, decadent and obnoxious as Monte, prim and inadequate as Burt, on different scales, they are scourges of Mildred’s fix too, but some gets the comeuppance, some just doesn’t. Ms. Crawford gives a genuinely pulsating performance notwithstanding, even errs on the side of operatics, but the fine-line between good and great for an actress of her status is that, in the end of the day, she cannot afford to completely de-glamorize herself for the sake of her character, Mildred doesn’t need to be sexed up or gussied up, she is overall, a more head-headed type, but Ms. Crawford needs that, at the age of 39, she needs to reinforce her glamour not just by her acting bent, but her usual objectified sexual allure as well, which according to my lights, her own vanity and insecurity curtails the virtuosity of a well-rendered characterisation.
Blyth and Arden are both Oscar-nominated, the former banks on a meaty role reek of insidious perverseness and the latter is a rapier-like wise-cracker, only Mildred never listens to her. Zachary Scott, on the other hand, combines a scintillating veneer of alluring urbanity, rank snobbery and depravity, one cannot really begrudge why those two women of disparate nature would both fall upon his sophisticated spells (however momentary they are), but that’s the crux of MILDRED PIERCE, it appears more convincing in eliciting the unabashed rottenness from menfolk, but less so in its petticoat discord, which actually is the nexus of the entire tear-jerking enterprise, however scrumptious it may pander to ours eyes.
parallel comparisons: SUDDEN FEAR (1952) 7.1/10; CASABLANCA (1942) 8.9/10; DOUBLE INDEMNITY (1944) 8.2/10
5 ) 随特写而来的枪响
镜子碎了 而后来，镜子中有火在燃烧。 见到你，让我听得见，周围有翅膀拍打的声音。 前面节奏很慢，中段突然加速，死了女儿立马参观生意兴隆，只一个镜头，大悲速度接大喜，如果是考里斯马基，大概死了女儿依旧无人来吃饭。 切回现实的镜头很特别，是直接向画左快速推进。 1小时16分，米尔德拉下百叶窗的那个叠画也挺秀的。 报纸的特写，后拉，墙上的影子将报纸撕裂，镜头叠画至一个巨大的花坛，上摇，穿过地毯，门口的女仆正热情地为人开门 如果空间之外需要听到枪声，记得给空间内的人物切特写。（那么是不是可以反着做，有没有更好的做法。） 给警察打电话的那段，维达一直恳求，米尔德的表情逐渐呆滞并流出泪水，短短几十秒，用演技塑造了合理转变。 最后是一个从台阶上走下，走入大门框的镜头，柯蒂兹已经尽力了，五星拍法，奈何本子原本就算不得出彩。
6 ) 《欲海情魔》| 有别于原著的改编
因为看了怀尔德的《双重赔偿》（改编自詹姆斯·M·凯恩的同名小说《双重赔偿》），也了解到《欲海情魔》也改编自凯恩的另一部女性和家庭题材小说，遂即看了下。同样是黑色电影，编剧在改编剧本和导演在处理电影风格和戏剧结构以及主题的方式上大为不同。
凯恩的原著中是用第三人称视角来关注女主米尔德丽德的，塑造了一个果断坚韧、却也刻板、拥有超越自身地位的梦想的南加州家庭主妇形象。在凯恩的那个时代，米尔德丽德的形象是有局限性的，他的坚韧和果断在那时的男权社会看来是一种膨胀的欲望, 如果放到女权运动兴起之后再来看，米尔德丽德的形象或许更有震撼力和积极的力量。凯恩在塑造这个角色时，也许是带着厌恶情绪的，在他看来，这个女人就是一个蛇蝎美人，一个在浪漫犯罪小说中颇具现实感的人物。
如果完全按照原著进行改编，大概就会成为一部传统意义上的家庭女性题材片，就会毫无新意了。但制片人杰瑞·瓦尔德在促成这部片子的方向和基调起到决定性作用，他想以自己的方式打造这部电影，使得它超越一般意义上的家庭情节剧和女性电影，让它成为一部阴郁的讲述谋杀和背叛的故事片，成为一部黑色电影。瓦尔德是从记者转行到制片厂剧本写作的。他也写过许多剧本，这些也帮助他成为制片人，后又以一些二战题材的电影闻名。他是一个乐于冒险的人，写喜剧并非他的强项，如果尝试新题材，选择一部根源于现实主义的且带有鲜明元素的女性电影也许是不错的选择。当初派拉蒙发行《双重赔偿》赢得了一片赞誉之声，比利·怀尔德和雷蒙德·钱德勒共同编剧，将这部黑色电影的角色刻画得入木三分，且带有一点喜剧色彩。其中，通过一个将死之人的回忆式叙述和苦涩的画外音增添了颓废、顿悟与失败的情绪。瓦尔德深受《双重赔偿》的感染，并琢磨着也采用回忆式叙述、闪回和画外音。因为考虑到原著缺乏推动情节的高潮，编剧加入了谋杀的戏份，并以此作为高潮。不过当时的华纳依然紧固在纸片体系中，电影制作在华纳比在派拉蒙更具集体合作，没有比利·怀尔德那样的天才导演，所以在电影制作上依然存在着一定的局限性。但瓦尔德的聪明与成功之处在于，从另外的方向来打造这部电影，将犯罪题材和女性电影集合起来，用插入式将原著的故事变得更具戏剧性，因为《欲海情魔》中包含的痛苦场景以及对家庭生活、爱情和事业的背叛情节，这部影片也为华纳后来的现实主义电影新潮流指明了方向。瓦尔德的报业背景使得他在谋杀故事框架上更顺手，结合商业收益思路，或者他会认为这样改编处理剧本更能吸引观众，带来更好的票房。这部影片的剧本的改编过程也极为繁琐，曾有过八个版本，最后基本采用了麦克杜格尔的版本，并加入了一些特内的情节。可以说这种黑色幽默成功的关键也有当时时代局限性的帮助，麦克杜尔格暗示米尔德丽德试图达到商业上的成功，在当时的社会背景下已经脱离了传统的家庭和谐和男权主导社会的“正确”图景。如果放在当下，大概也只能沦为一般的类型片，只能在技法上给予更多的肯定了。
开场一段颇佳，镜像与影子的运用；故事和对白有些生硬，转折也牵强。
克劳馥一张情人的脸，演起母亲来也是令人心碎。我发誓不去看JC的原著小说，他塑造这么一个女儿居心何在啊！真是作孽
迈克尔·柯蒂斯导演的著名黑色电影，也是琼·克劳馥荣获奥斯卡影后的代表作，她在片中饰演一个为女儿牺牲一切的母亲。本片故事虽是典型的肥皂剧，但剧本写得敏锐而富有文学性，没有让伦理亲情流为滥情，并且也严谨地控制着情节发展的抑扬顿挫和感人气氛，故被誉为美国影史上最佳伦理通俗剧之一。
终于看了这部原片，和翻拍剧有大把的时间刻画情感不同，影片更偏黑色一些。自己亲手养大的白眼狼，被一次次伤害背叛、再心深伤透最后也依然想要以身抵罪，可怜之人必有可恨之处。电影里的Mildred Pierce可要比电视剧里的Mildred Pierce结局好多了。三星半
摄影很漂亮，开头的光影美死了。故事真的是苦情剧加了个黑色电影的开头结尾，不过结局看得大快人心，总算前边没有白生气。一想到导演是找贝蒂、斯坦威克、德哈维兰姐妹未果后才勉强同意的克劳馥就觉得有点好笑。
狗血。爱情买卖，实在让人喜欢不起来。
黑色电影通常用作指代一种特殊风格的犯罪电影，往往关注于性与道德的腐化。一般认为严格意义上的黑色电影应该是好莱坞出品的黑白电影，年代在1940年-1958年之间。也有人将少量欧洲电影或彩色片称为黑色电影。60年代以后具有黑色电影风格的影片，被称为新黑色电影。
围观影后琼大眉的Melodrama，却被编剧James Cain强大的女性视角吸粉。扒了一下Cain发现实在是了不得，44-46三年内Double Indemnity，Mildred Pierce和The Postman Always Rings Twice三部作品硬是在男性主导的film noir里开辟了女性主导的roman noir，这种genre其实也突破了femme fatale的类型束缚
加上一个犯罪的开头就是黑色电影，去掉它，就成了托德·海恩斯的情节剧，好明显的侧重啊。
迈克尔柯蒂斯是个很精明的人，他在电影中融入多层次丰富解读的空间的能力，在经典好莱坞绝对属于上乘（绝对比拉乌尔和威尔曼要灵活善变得多）本片虽然被归纳为黑色电影，实际上我认为更像是30年代的奇情犯罪片中间套用了家庭元素，各种暗线与明线交织让人目不暇接。母女之间的迭代更是精彩万分。以及琼克劳馥的演技，依旧水准之上。
假如用黑片套路解释本作无疑这位‘’蛇蝎美女‘’从形象到与主角关系都不按常理出牌，少见崇尚美国传统家庭观的好莱坞愿意将家人列为诱惑主角堕落的疯狂因子。
琼克劳馥没话说 ann blyth太美了 她家那个尖嗓子的小黑女孩是不是乱世佳人里斯嘉丽家帮melanie接生那个啊
你有千般错，我有父母心。自古贫贱多豪杰，纨绔从来无丈夫。
1945年版很明显的带有那个时代的黑色电影风格，由凶杀结果引出之前的来龙去脉。2011版作为连续剧，Veda更丰满，但是Monte也占去了较多戏份，冲淡了母女二人纠结的关系。感觉还是1945年版更能显示Mildred的悲剧色彩。
这儿流行“女儿要富养”，彼处在七十多年前就提出了质疑。柯蒂斯在光和影上用足了工夫。光打在琼的脸上，魅力被几何级放大。镜头机位来回折腾，直似行云流水。片尾缺了一小段字幕，另外中文译名实在不知所谓。
让人无语的情节，难怪现在看来会觉得落后，不符合时代。琼克劳馥的演技没有让我觉得CONVINCING,只欣赏里面那个快人快语，性格爽朗的活的自我的IDA
mildred不懂因材施教 一厢情愿地花大价钱让女儿们学这学那 使她们成为她的附属品 而mildred一举一动 从小到大从事业到男人 全为迎合女儿们的心意让他们过得更“好” 也使她沦为孩子的附属品 一个女人身份让位于母亲身份、没有独立精神空间的伪女权的代表 一个新女性思潮与传统观念杂交而成的畸形产物
很独特的一部作品，黑色电影的架构却是通俗剧的里子。首尾相扣的倒叙结构很巧妙，开场的谋杀戏就夺人眼球，接着表现主义风格的大宅逃亡一场令人惊艳。中段是典型的情节剧叙事，紧凑而冲突性强。结尾的一次逆转将主题再次升华。场面调度颇具特色，大量的三角构图构建了复杂的人物关系。
你看！这实际上讲了家庭对一个女人的毁灭！丈夫、情人、女儿都是她成功的阻碍，一个完整的家庭（有房子有男人有女儿）同样是可怕的危险的。这样的女人我简直太喜欢了，且琼克劳馥真是太美太美了，我盯着她的脸根本就是要陷进去陷进去（这......）演技也惊艳到极致！！！！
not perfect, but surely impressive.用浪wipe字幕。运动镜头移动到镜子。(后面有呼应)大量溶接 （montage seq.）升降机以高机位开场，而后降低。不同角度景别拍摄同一或相邻动作M与警察一系列过肩正反打。Wally看到M，接着又是一系列过肩正反打。进酒馆，影机track away to show the whole bar. 然后从酒杯的特写开始，又过渡到两人的正反打。溶镜过渡，screen direction错误。跟拍。low-key sce