The keyword of this movie is transformation, both physical and mental, physically for the lovers, while mentally for Phillips and the preist, who both done wrong things before, and got redemption in the end. The only one main character who didn't change is the bishop, who sold his soul to evil power and drives crazliy by his own desire.
Also, the movie combines fantasy with philosophy perfectly. The curse makes the lovers live a one-half life and fate to be "Always together, always apart" and let the curse broken on the eclipse moment implie philosophy of life, time, opposite, day and night, exchage, ect. One funny thing is that most of the philosophical words are spoken by Phillip, who was once a thief, which sounds ironic and bitter, but showing that some wise and brave mind may hide below the disgraceful surface, which the ashamed history may be caused by unforced power, like poverty and miserable childhood, and also which may make no effects to let the man be the others' truest friends.
Then, great compliment to roles-selective job. The young Michelle Pfeiffer is stunningly beautiful, and she plays in a softble way. Rutger Hauer plays a persistent and tough knight, who would like to sacrifice anything for love, and thinking of him, also remind me of his unbelivable spontenous performance in Blade Runner (1995, Ridley Scott), which makes the lines (All of moments will be lost in time, like stars in rain, time to die. ) become one of the most classic ones in film history. Also, Matthew Broderick interprets the vulgar bumpkin quite successfully in a vivid way, cute and premature. John Wood creates a evil, cold blood bishop, who paid his life as price of the cruel curse.
The only thing that hard to embrace is the ancient version on-road midi style of music, which makes the soundtrack barely belong to a consistent genre.
后来才发现演小扒手的是小马修，现在他老婆都要演第二部欲望都市了。倒是男主角后来蛮喜欢，欧洲演员就是丰富些。
这些年都没敢再看这片，怕再看当年的美好感觉彻底消失无踪。可见某些电影就像爱情一样，只能在特定时刻出现，才会带给你特定的美好感知。
我们却依然在黑暗之中找寻无法抵达的彼岸
只有逻辑颠倒才能让你触摸我爬满伤痕的胴体
只有无日无夜才能让我看到你猩红的眼睛
亲爱的 最可怕的是你我心中的痛苦无根无由
它衍生于一个没有开始的轮回
自然也就没有结束
就请让我拥有这一切破碎的片段
虚伪地面对生活的希望
暗暗祈祷黑夜的来临
若我所做的一切还不足炼铸一个逃避的牢笼
那么 生活何在
被slowly上一个美国大叔推荐来看的电影，看完只觉得平静。压根不给你快进的机会，虽然故事本身并不曲折离奇，但是很多小设计很戳人，不是现在很多电影那种主线支线分明的目的性极强的编排。
比如说开头的mouse，我一直等着他出去之后要闯出怎样的一番天地来着，没想到他在这个故事里算是个重要的辅助角色。哦对了还有一点，多亏看之前没翻简介，不然这个转折就没意思了。
再比如看起来极其真实的打斗，不知道是技术限制还是导演审美，每次追杀打斗的场景都很真实，没有慢放没有特写没有炫酷的动作，但看着也很舒服。哦当然要除了最后那段在教堂里刺杀大坏蛋的场景，一群信徒仿佛不存在一般站在两侧观摩。
最搞笑的一个片段是小男孩失手划伤那个首领的脸后，猛不丁来了一句对不起我不是故意的，死死戳中了我的笑点。
有个疑问，按照那个老者说的，为什么必须是在几天后的白天和黑夜交汇时刻才可以解除这个魔法，是因为那天有什么特殊意义吗？还是说其实每天都可以？
Also, the movie combines fantasy with philosophy perfectly. The curse makes the lovers live a one-half life and fate to be "Always together, always apart" and let the curse broken on the eclipse moment implie philosophy of life, time, opposite, day and night, exchage, ect. One funny thing is that most of the philosophical words are spoken by Phillip, who was once a thief, which sounds ironic and bitter, but showing that some wise and brave mind may hide below the disgraceful surface, which the ashamed history may be caused by unforced power, like poverty and miserable childhood, and also which may make no effects to let the man be the others' truest friends.
Then, great compliment to roles-selective job. The young Michelle Pfeiffer is stunningly beautiful, and she plays in a softble way. Rutger Hauer plays a persistent and tough knight, who would like to sacrifice anything for love, and thinking of him, also remind me of his unbelivable spontenous performance in Blade Runner (1995, Ridley Scott), which makes the lines (All of moments will be lost in time, like stars in rain, time to die. ) become one of the most classic ones in film history. Also, Matthew Broderick interprets the vulgar bumpkin quite successfully in a vivid way, cute and premature. John Wood creates a evil, cold blood bishop, who paid his life as price of the cruel curse.
The only thing that hard to embrace is the ancient version on-road midi style of music, which makes the soundtrack barely belong to a consistent genre.