公主罗曼史 奇缘巧配

第九篇 魔高一丈

受保护的VIP在家跌倒受伤该怎么办？哈里索斯国的王储爱丽丝公主的经历为以后来来泰寻求庇护的各国公主开了一个有趣的先例：

可先由负责保护的队长负责送医急救，以其在泰化名登记入院，之后再安排注重隐私保护的私家病房休息。

在病房内，默默照看爱丽丝的拉维，见她醒来，这才放下心来，以温和的笑容面对疑惑的她，一席体谅关心的问话，问得警惕心重的爱丽丝也松了一口气，原来打算严阵以待，解释再辩论的神情即时放松下来，这样的拉维也得到了爱丽丝的回应，还有她的道歉和感谢：

-留~我又给你添麻烦了吧~

-我又制造问题了吧。

看，经过这一番波折之后，拉维与爱丽丝彼此间的距离反而更进一步，原因还是拉维因为心疼和内疚，对爱丽丝特别温柔，悉心照顾，好言相劝，生怕怠慢了她。对于从小必须克服各种困难，要么受期许，要么被责难，艰难成长的爱丽丝来说，他是为数不多，对她付出真心意，愿意耐心照顾她的人。在拉维与爱丽丝的病房对话过程中，还有若干粉红场面值得关注：

◇爱丽丝对拉维承诺自己不会再偷偷跑出门去单独行动，凡事都会经过他同意，甚至还对拉维伸出了手指，要拉钩，而拉维也含笑回应了这番期待，伸出手指与她约定。

◇病中的爱丽丝在说完这番话之后，就睡着了，可是拉维仍然握住她的手不放，坐在她身边，默默地看着她入睡。

对普通恋人或是军属而言，这是相濡以沫的生活经历，可是对平日严厉的少校和以严肃自律面貌示人的公主来说，这是极不寻常的事。如此温柔，如此甜蜜的场景，居然发生在少校和爱丽丝公主相处时，不由得让人担心，两人对假扮夫妇的生活都太过投入，以至于分不清自己到底是谁，在干什么，只是一心以责任和任务为理由，继续待在对方身边。爱丽丝的侍女杰西，就是见此情景，不由得忧从中来，为提醒拉维，她甚至单独约见，直率地对拉维说出了担心：

-我是在担心你，少校。

-这只是为策安全的协议结婚。

-爱丽丝公主是我们哈里索斯的公主，在找到暗杀的幕后主使者之后，她就会回到我们的国家。

就在对话当时，拉维是以平静的态度接受了建议，可是谁都不知道这件事对他有怎样的影响：

就在事后，回到家的拉维，将那朵要送给爱丽丝，却已枯萎的玫瑰悄悄丢进了垃圾桶。或许，这表明拉维接受劝说，暂时告诫自己放下对爱丽丝的心意，可是人的心意不是说放就放，事态也不是静候就能无波澜，贪婪狠厉的卫正在撺掇哈里索斯最天真的王子，意图谋夺那笔受控而来的黄金。在阴谋与侦缉，抢夺与保护过程中，拉维与爱丽丝的感情还在全力加速中。

这是怎么话说的？事情还需从头厘清：

在奥兰来到泰国访问，任性度日之后，他的异母长姐凯特也以药物研究的理由申请来泰，做学术交流，此后卫也来到这里，特地来见了奥兰。承前篇分析，奥兰对卫抱有很大的好感和信任，从未怀疑过他的建议。正是在卫的撺掇之下，奥兰为了干出一番事业，让母亲摩纳刮目相看，这才软硬兼施，要求哈里索斯国有关部门运来黄金为己所用。但黄金在入境之后，可就不那么好处理了。

看到这里，可能不少观众会有疑问，这任性的王子不是继承人，声望不高，平时也没有什么作为，在众人看来也没什么特别大的用处，为什么他有权要求运来国库里的黄金？

实际上，之前剧情已有交待，在奥兰要求运送黄金的时候，相关负责人就已经汇报到国王那里去。将黄金运来泰国，并非奥兰一个人的意思，而是他的祖父亨利国王亲自下令，批准奥兰申请的黄金运抵泰国。或者，若是没有祖父在背后襄助，奥兰根本无法完成自己的主张。比对亨利国王支持凯特为研究相关药物化学成分去泰国做学术交流一事可知，虽然老国王将孙女爱丽丝设立为王储，但并未厚此薄彼，对其他几位孙子孙女希望从事的事业都鼎力支持，虽然没有语言上的赞成或褒奖，但已经用行动暗地里支援。在王储定力不足，势力亟待扩大，尚未站稳脚跟之际，哈里索斯国年轻一辈的王子公主，若无老国王的支持，其实办不成事。

哈里索斯国的黄金运抵泰国之后，立刻就被卫盯上了。说他是蓄谋已久，也不为过。此处需要确认的是卫所做的几件事：

◆黄金抵埠后，立即带奥兰去见了控制泰国相关事业的华商，但谨慎的华商与年轻的王子见面，先是客气地表示感谢，而后又赶紧表示要按泰方规定走流程，要与央行商议，尽快报批，这其间需要一定时间，请王子耐心等待。

◆年轻的奥兰不愿等待，在卫看来是意料中事，肯定与华商谈不拢。于是卫又介绍能够一口吃下这批黄金的买家，不消说就是有实力有见识的帮派人物。

◆此后，奥兰在卫的安排下，打算与黑帮子弟端见面洽谈，在沟通过程中，被潘在会议室桌下安放相关设备进行监控，了解到出售黄金的部分计划。

相关情况汇总上报，知情后的信察上将面色严峻，又是黑帮份子，又是别国王子介入的问题交易，麻烦还不少。从众人脸色来看，D队这次又要打一场硬仗。

在奥兰卖黄金这一事件引发重重矛盾的过程中，最大的问题在于，此前打算信任奥兰，让他放手一搏，借此了解他的能力和底线的祖父亨利国王出事了。冰冻三尺非一日之寒，就在老国王处理国事期间，发生了几件小事，直接致其健康受损：

◇亨利国王有一枚平日里经常取出把玩的硬币，平日有空，经常在接电话，或是闲暇时翻转硬币，没曾想这天又在转动硬币时突然倒下。经检测，硬币表面被下毒。

◇亨利国王最不放心的就是长子昂廉，气他每次总是受妻子挑唆前来逼宫滋事。只要与昭法·昂廉谈话，每次都会血气翻涌。这次是老国王自己坚持要见昂廉，谈话后又被气倒了。

这两件小事看似不起眼，最终却造成老国王卧床不起，意识不明，无法主持国政，爱丽丝的心腹侍卫培拉被拘禁的后果，也只能说不是凑巧，而是危机累积所致。这样说来，亨利国王病危，只是此前一众问题的爆发点，在亨利国王病重期间发生的种种，都值得探讨：

◇与之前在爱丽丝宫内发生的随从萨拉被害事件一样，亨利国王也是中毒后倒地不起。经相关专家确认，虽然使用毒药一致，但由于剂量不大，不致命，只会给中毒者造成行动不便和智力迟缓等问题。由于两次事件有相似性，很容易造成明眼人的疑虑。在这之后，拉维就是瞅出事件之间的关联性，这才抽丝剥茧，找出幕后主使者。这是后话，暂且按下不表。

◇昭法·昂廉一直都有误解，误认为父亲不重视自己，处处看低排挤自己，不给自己应有的权益，心里非常埋怨。适时出现的摩纳，虽然权欲高涨，蛮横无理，一心想要丈夫和儿子先后继位，但她的存在也只是催化剂，由她的欲心促成了昂廉与父亲因权力分配与继承一事直接对立。

白发苍苍的老国王在办公室内倒下，幸而及时就医，但也引发了不少问题，其一就是昂廉取而代之，以君主的身份开始发号施令，还盖下了自己的印章。这就意味着，原先打算关注奥兰处理黄金的上位者，当时当事已自顾不暇，无力继续监督和保护这个不知人间险恶的大孩子，必须由他人接过任务，继续协助，才有办法保护奥兰在乱局中不受伤害，全身而退。

在重重危机中，爱丽丝无法联系上祖父与培拉的时候，也只是危局中的小小一个节点，但对于在泰隐居的爱丽丝，最大的问题还是在于她尽力助人，保护族人不受伤害的这份善良和热忱。她那种一旦关注，就不管不顾，非要帮人的态度，让人扼腕叹息，正如拉维所说：

-除了帮助别人，保护别人，您能不能关心一下自己！

可是，爱丽丝毫不在意，仍然担心堂弟奥兰，以激烈态度要求参与保护奥兰的狙击行动，这才引发后续一系列麻烦和问题。爱丽丝参与保护黄金行动，原本只是积极要求，获得泰方准许，以观察员的身份参与其间。可是在行动当日，爱丽丝却准备了一只大包，看起来装了不少东西。自打她一出房间的门，就被拉维看到了，但又无法阻止这样焦急任性的公主，于是只能对她说：

-我是要帮你拎包~

岂料，爱丽丝一下丢过去，拉维就算伸手去接，也吃了一吓，确实挺沉的。又问：

-包里是什么？

女方不答。看吧，这就跟要帮靓女拎箱子一样的处境，以为可以帮忙就没事，谁晓得箱子特别沉，一下子没拎起来，差点出洋相。还好是特种兵队长，力气大，这种尴尬并未持久，但也说明包里确实有重物，否则不会造成特种兵队长拎包，都为包的重量吃惊的情形。

爱丽丝的拎包里究竟放了什么？

直到黄金运输车驶入，众职业打手开打之后，谜底才揭晓。包里放的原是可组装的重型枪械。就在现场，爱丽丝利索地装好，拿出来就射击，身手之敏捷全在众人意料之外。当时的情形是，交易的双方分别是哈里索斯国的王子奥兰与泰方帮派子弟端，双方各带人手交易，地点由双方认可，极为隐秘。在奥兰和卫看来，除交易双方及中间人卫之外，无人知晓。当重型卡车驶入当时，分明已经确认是哈里索斯国出产，纯度最高的黄金。但众家打手持械突然出现到枪声响起当时，端和奥兰都吃了一惊，可见两人对突发事件都没有准备。打手是卫雇来的，专门来害人抢金，为避免麻烦，还收到了其他要求。因此，端与奥兰，都是受到卫算计的牺牲羊。牺牲羊的说法源于圣经故事：

上主为考验亚伯拉罕，要他献出儿子以撒。又在亚伯拉罕携子来到摩利亚的山上，筑起祭坛，摆好柴火之后，出言阻止他以子献祭。当时亚伯拉罕发现一只公羊，两只角扣在密林中，就以羊代替儿子以撒献祭，又为此地起名为：耶和华以勒，意为：耶和华自有安排。

故事中提到的祭祀是犹太教中的燔祭，通常是为求乞和赎罪，将牲畜或飞禽屠宰，血洒在祭坛周围，再用火烧给上主，不过以人为祭的事也不少。自亚伯拉罕以公羊代替儿子以撒献祭之后，羊就成为代替人向神赎罪的祭品。此后古代犹太人在每年赎罪日都要用牛羊的血作为赎罪祭，再牵一头活公羊，由大祭司把双手按在羊身上，表示全犹太民族一年里所犯的罪都通过大祭司之手转移到了羊身上，罪责由羊承担，之后要将公羊赶入旷野，意味着把人的罪孽赶入无人之境，最后还要将用来赎罪的牛羊都烧掉。这就是“牺牲羊”的由来，用来比喻替人受过，代替别人承担罪责或是遭受无妄之灾的人。

在本剧当中，卫对受雇的打手组织头目嘱咐道：

-全部干掉，不留活口。

又说：

-如果遇到阻碍，就连奥兰也不要留下。

由上述事实可见，卫做这样的安排，就是为利用不懂事的王子奥兰，设局坑人，神不知鬼不觉地抢走哈里索斯的黄金。为避免麻烦，还打算灭口。这就不难理解在行动当时，端提着装有现钞的箱子急忙逃跑，又受到蒙面爱丽丝阻拦当时，二人正在对话当时，突然一声枪响，端即刻倒地不起。在奥兰发觉情况不对劲，慌忙逃走当时，也遭遇伏击。在他看到潘出现营救时，惊讶到无以复加，不过奥兰运气不好，在混乱中他的腿部也中弹。但子弹未伤及骨头，仅嵌在肌肉中，已算是不幸之中的大幸。混乱中，奥兰见到了搭救他的蒙面黑衣长发女，从眼神和举止认出，她是自己的堂姐爱丽丝。他急得直喊：

-爱丽丝姐姐~

【详细】

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其实小庆阿姨演的武则天真的很好 这部剧从演员 编剧 化妆 服装 道具 都堪称经典可是为什么这部剧的评分连潘迎紫的一代女皇不如其实潘迎紫的武则天竟尽靠瞪眼睛甩衣尾来装霸气哪有刘晓庆那股子自然流露的霸气好啊有点小小的替这部剧感到不平 所以给五星表示支持

3.28节奏也太慢了吧。。。1.台长（与酒吧小老板搞私情）被电死，血衣案（艺术班班长）。台长，律师，地主（杜成义），三人合作发不义之财，农用地变商用地。分赃分歧。本来地主定期给另外两人打钱，后来突然不打了，于是地主楼盘塌方事件被曝光。还败了官司，无奈只能继续打钱。后来台长GG。律师笔记本被偷，被举报做假证，家里被安装了摄像头，侄子被举报贩毒。杜成义开车被炸死？？？（应该是借刀杀人）当年心脏病药吃死人。家属告状却都被杀掉伪造成意外罗华的哥哥董珂（罗华父亲的私生子）跟罗华长得一样。晓婉失踪案。警察一直找不到，托道上的人找，道上的人让他杀掉罗华，就告诉他凶手，凶手是赵旭楠。（晓婉被赵旭楠逼迫吸毒过量致死）罗华被晓婉爸爸用车钥匙割喉。。。赵怀山大儿子入狱，小儿子被董珂绑架

女主在解救过程中竟然被一枪打中了心脏，GG。主角光环消失了！罗华女朋友（也是假药受害者家人）协助作案，作伪证，杀死刘宇（赵怀山的助手，也是杨卉的亲生父亲）和赵怀山（不愧是表演专业的，装怀孕博取赵怀山同情，装疯瞒过警察和医生）

赵成林家的摄像头竟然是罗华女朋友安的，整件事也是她发起的。得知自己亲手杀了亲生父亲后破防了。。。

转。

吞噬者侥幸赢了先知，但无法消灭先知也没法获取她的力量，只能将其囚禁在诺德琳里，再将一帮先知的造物投入这个诺德琳的镜像幻境里，让他们相信吞噬者灭世的故事，自己是受先知庇护来到的诺德琳。造物们的争斗，英雄的力量来源都是先知，他们在吞噬者的误导下以为竞技场能提供庇护屏障，实则是在加速先知力量的崩溃。先知在封印中终于捕捉到竞技场的一丝漏洞，将一个从自身剥离没受到污染的灵魂注入码奴体内并送入诺德琳，又为了避开吞噬者的监视没有直接灌输给他信息，希望他的出现能间接唤醒自己的造物们，只要他们能合力打破幻境，产生的扰动足以动摇封印，使先知脱出牢笼，就有与吞噬者决战的机会。可是造物们离开自己太久了，他们早已改变，码奴的出现引发的自私猜忌赶走了理性思考。但是只要码奴没死，无论是他堕入复仇深渊，还是意识到自己的使命，都必将把诺德琳搅的天翻地覆，诺德琳的稳定秩序将不复存在。****就要来临，新旧神必将有一战，码奴的所有选择都是可笑而无意义的，所谓的自由，也只不过是先知吊在他前面的胡萝卜，驱使他完成使命。而在超出吞噬者和先知两神外的位面，一只手正抚摸着这个宇宙模型，这是他明天要上交的作业。

《一周不死，全额退款》剧情中的“生与死”衬托出青年作家对生命的迷茫与老年杀手对生命的渴望。双方在围绕着“生与死”展开对生命意义的诠释。青年作家在追求“死”的过程中，却发现生活的美好以及生命的可贵。老年杀手则不停的用别人的死，来验证自己依然“宝刀不老”，直至最后才发现最珍贵的其实就在身边。影片中心思想：不是生命无意义，而是我们太“自私”。观后感：只有平淡的人生，没有平凡的生命。

开始的时候女主这条线真的烂烂的我都跳了

可最近几集帮男三处理性骚扰案件和怼那个马太太爽了

确实看到成长了而且是在很前部分(我对内于没什么大想法了)

男主和父亲相处不多但都挂念着，现在见不到怀念更多

女二男二cp感很足很可爱，而且逻辑明确

男三女三比较普通的算甜宠吧，虽然演技稚嫩但好在戏份不多

有人说奶奶很让人窒息，但想想她应该七八十了吧，七八十的老太太开明的真不多而且他儿子的死女儿的婚姻不幸肯定给老太太一些影响

这里面的案子因为很真实，像韩大爷这个案子我身边就有一个马太太真是太让人无语了

虽然早就知道朱老师的演技只按需存在于粉丝口中，就是那么个比上不足比下有余的水平，我已经做好心理准备了，但这次的吴邪还是很伤人。朱一龙演的真不是吴邪，他演的是他自己，一个人到40一事无成的中年人。

我难过，我愤怒，但我也想明白了，这也不能全怪人家朱一龙，毕竟没演技的吴邪也不是他一个。

可为什么他这个吴邪格外恶心人呢？这就不得不提我们的总编剧、吴邪的父亲、巨差钱的徐磊先生了。毕竟这部重启可号称是送给书粉的礼物、是南派泛娱主导的这么多年第一部由作者全程跟组的盗墓笔记啊。如今搞出这么个四不像的“大男主”吴邪，徐磊真的功不可没。

是，你是作者，你是吴邪的爸爸。版权是你的，你想怎么搞就怎么搞。但我真的万万没想到你能做出拿书给剧打补丁这样的事儿来。四妹、张大阎王、新九门……一桩桩一件件，都是要还的。你的底线就那么低吗？就真的一点儿情分都不记了吗？你穷到这份儿上了吗？徐磊，你是真的恨书粉！

今天下午看这部电影的时候，全场就我一个观众。感觉导演讲的这个治病救人的故事还算完整。但影片也有很多不合常理的地方。比如，1.陈兰，一个小城镇的校园清洁工，不会说英语，且在美国没有收入来源，她怎么能轻而易举地带着生病的女儿通过美国大使馆的签证面签的？导演莫非认为美国签证官识别不出资金不足或者移民倾向的人？2.美国作家本来下定决心请陈兰搬走，结果就因为陈兰做的饺子好吃就心软了，让她和孩子继续留下来住？！这什么逻辑。3.陈兰到了美国，千辛万苦让孩子进入horizon学校治疗，结果嫌弃老师费了半天劲教会孩子5个单词，单词数量少，就闹着要退学，还是校长苦口婆心求她回来让孩子上学！这是把之前自己大老远跑到美国让孩子入学的努力当儿戏吗？陈兰这是闹着玩吗？

这就是我的观后感。

一直以来都有一种说法，喜剧的内核是悲剧。一部戏剧能让人感动算得上是种成功，但最好的戏剧是让人笑到流泪。

提到Rowan Atkinson，几乎所有人都会想到Mr Bean，他以一种开拓性的方式让这个人物活了过来。以致于哪怕这个电影的主角叫作Johnny English，我们也依然译作“憨豆特工”。

全世界那么多人喜欢Mr Bean，到底是为什么？

小时候看Mr Bean，笑点其实和大人一样，无非是角度不同。在小孩子眼里，憨豆先生就是一个犯蠢的成年人，有时候比一些少年老成的孩子还要傻，总是一根筋做一些情理之中意料之外的事。而在大人看来，能发现一个比自己还要傻的成年人真是好不容易，油然而生的优越感让他们对憨豆的故事欲罢不能。

看着憨豆跌倒、受挫、失败、委屈，观众们笑得前仰后合，似乎没有人意识到，憨豆的坏运气不是因为他特殊，憨豆之所以成为笑料，恰恰是因为他就是我们这样的普通人。没有金汤勺银调羹，没有老天爷赏饭吃的天赋异禀，没有置之死地而后生的奇遇，随着成长，我们慢慢意识到一件事，“我就是平庸的人”，并且这种平庸有极大可能会持续一辈子。

一边抱怨上班像坐牢，一边还是会准点打卡；一边数落人情冷暖，一边还是想牵手真爱；一边感叹奢侈品暴利，一边还是想给自己买个礼物。我们是如此渴望家财万贯、渴望被人爱慕、渴望光鲜亮丽，但现实世界里，我们总是“帅不过三秒”，随时被街道转角的某个人比得无地自容。有什么办法呢？金字塔顶端的生存者只能是少数，而我们，属于大多数人。

大多数人都是不被命运眷顾的。别人耍小聪明求雨得雨，我们耍小聪明被自己耽误；别人装B饱受追捧，我们装B一秒破功；别人捡彩票日进百万，我们赚辛苦钱工资被欠。如果把大多数人的不幸运记录到一起，我们简直每个人都是憨豆，随时都做着别人眼里的蠢事不自知。生活有选择没错，只不过，有些人选中的最优项在旁人看来，那就是一个彻头彻尾的灾难。而旁人也并不知道，在我们做出选择的那一刻，这个选项已经是相对最好的一个了。

哪一个资质平平、身世无奇的人不曾幻想过一步登天？和憨豆一样，我们每个人都曾努力做过一些事让自己看起来更“酷”一点。我们以为，自己和别人不一样。恰恰是这种“以为”，让我们每个人拥有了最大的共同点。从壮志雄心到安于天命，成长的过程不在于得到多少，相反，越是成长，我们越明白哪些幻想需要被舍弃。

而这点上，憨豆真的不一样。他守住了一个成年人心底最后的童稚，相信并坚持着为“幻想”做出最优选择。平庸又怎么样？坏运气又怎么样？一秒窘迫后，他又会回归到自信状态，坚持做想做的事。哪怕全世界笑他癫狂冒傻气，他也对认准的事坚信不疑。一个人需要内心多强大，才能在现实面前撑起信仰？

我们都是憨豆，我们却不如憨豆，一点点的冷眼蜚语就可以把我们轻易打败，让自己在平庸面前溃不成军。纵然都是平凡，我们的平凡写着无奈，而憨豆，偏要在沙漠里种出一朵花。也许他最终也种不出一朵花瓣，但无疑，他才是那个寻找到生命真谛的人。

天不佑我，我自佑。

我认为编剧水平低的一个原因是她塑造人物不立体。口口声声碰瓷历史，贴历史的tag，实际上呢，并没有充分利用历史人物。除了耶律贤形象立体一点，其他人简直是一根筋，傻的从生傻到死，比如喜隐和工具人磨鲁古，可历史上喜隐也曾经劝谏过景宗写国书的时候语气不要太谦卑这样有辱国体。剧中男女的爱情几乎都是按照现代人的眼光制定标准，却又过于单一：萧绰进宫后我们就再也看不到韩德让(窦骁)的大白牙了；耶律斜轸也是对萧绰侄女一见钟情各种吊儿郎当；太平王是霸道总裁形象；再次cue一下工具人磨鲁古，很傻很天真，很二很单纯……唯一有转折的就是耶律贤，他后来爱上了玉箫，成了一些观众眼中的渣男，可号称研究过《辽史》的蒋大编剧不会不知道，按照时间推理，玉箫的原型渤海妃应该不会比萧绰晚嫁给耶律贤，她的女儿也并不被重视，不但没有封号，婚姻还不幸福，耶律贤有了萧绰以后就没跟别人生过孩子，这样的好男人也要被黑，太残忍了。而耶律斜轸这个配角明显更适合这种黑化，据历史记载，耶律斜轸有个庶子，叫耶律狗儿，这不一下子就有素材了吗！先是嬉皮笑脸好不容易把老婆骗到手后，没过多久就翻脸不认人另结新欢生娃去了。如果说编剧想为萧绰改嫁韩德让没有心理负担而给耶律贤安排个玉箫，那这女主形象实在太单一了，甄嬛都有个黑化呢，萧绰就是一朵绝世出水白莲花。

【详细】

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生活看起来真的很无聊，女主问：活着是为了什么的话题，遇到各种糟心事和王八蛋都是生活的常态，女主是个善良单纯的小老百姓而已，只是想要一个说法，生活开了一个大玩笑，来了一场黑色幽默的枪战大片，但看起来轻松又无力。

作为观众，全方位感受到影片传达生活的无趣和无奈，偶尔一两件生活的小事都难超越原本需要很艰难度过的人生。

隐隐约约感受到的小幸福，其实很容易被忽略。女主朋友最后说：“你不要对自己太苛求。”

这让我联想到我也像女主一样经常脑子里都在想，人活着有什么意义？到底做什么才是有价值的？一直被这类问题萦绕，却也无果。

生活可能原本就无聊、可笑、无解，也常常因为一件小事生活天翻地覆，因为一个人生活充满甜美。

酒后驾车并肇事逃逸的富家纨绔子弟希润，不仅碾死男主人公戴拉的亲生父母，让戴拉和妹妹陷入与奶奶相依为命的精神疲乏中。由于富人背后的势力斡旋和道德理性的坍塌，不公义的法律和利用小喽啰缺钱的致命弱点，希润一家成功躲过肇事逃逸的追责。戴拉和全家的生活遭遇巨变。戴拉结识了出身富贵却同样憎恨不平等的阿卡，即便他后来知晓阿卡是希润同父异母的妹妹，以深情献之并甘愿为她保驾护航。

希润是富商皮亚姆的儿子，一生被掌握在父亲的威权统治之下。他的性情偏向独霸一方与懦弱自卑常常陷自己与他人之不义之中。富贵荣华让他的本性有所迷失，阿卡成为他的灵气秘钥和身心枷锁解放的工具，乃至在戴拉妹妹被他和狐朋狗友灌醉后，在其背后写下“便宜卖”三个字，引起社会指指点点和轩然大波，戴拉妹妹迫于无奈只好在皮亚姆的所属集团工作，并和希润保持若即若离而又狂放恣肆的爱情。

戴拉在深晓一切之后，在一场雨夜里的生死搏斗，戴拉切断了希润的两根手指，杀人的激情和原始颠覆力的张狂，为了父母妹妹不惜以坐监为代价的戴拉，在历经心灵的七七四十九劫之后，戴拉在监狱里与中国商人杨先生结为忘年好友，身为商场巨鳄的杨将生意技巧和做人道理授予戴拉并在两年后，戴拉提前出狱之后给力戴拉两千万资金。自此，戴拉与皮亚姆一家的商业之战就此开始。

阿卡和哥哥的婚姻控制在资本巨鳄皮亚姆手中。他为了政治经济目的，无视子女的终身幸福，利益和谎言将他埋没在飞尘滚滚的黄沙里。眼见戴拉在阿卡和杨的支持与帮助下成功扩张了事业，他派人烧毁了戴拉的仓库。戴拉以其人之道还治其人之身，在一系列的关于肇事逃逸的翻案和非法控制鞭笞冤狱者的证据链搜索中，阿卡自始至终在心间有一朵佛之莲，为了正义和恋人不惜与翻脸无情的父亲对抗。

传扶摇而上，在杨先生关于“道德”——儒家精神的恢复与心灵旗帜的张扬中，点点雪花飞溅，让戴拉不断思索人生的体面与内在的要义。戴拉是性情中人，是以不甘命运被束缚的精神扭曲，他要追觅的不仅是金钱，而且是一生的幻羽般的欢愉和缱绻，对待挚爱，对待妹妹，都以青麦之朴实的心予以珍视和保护。而皮亚姆为了掩盖自己的罪过不仅不理会下属，而且还把非法扣留等罪名推脱到妻子和儿子身上，希润再也无法忍受褶皱的精神垄断，将父亲犯罪的重要证据告知了警方，并且最终承认了十年前的肇事逃逸。

待到希润出狱，戴拉和阿卡已经结婚，而戴拉妹妹也最终原谅了希润。爱情的旋律，只要醇正，哪怕有压力来干涉，也要冒万死来反抗，自由恋爱的唯美之光燃烧了原本狭窄的气魄，只有人的情感和灵魂不被湮灭，那么道德的灵魂就可以诉诸人性的本真之上。风情倜傥，四位复杂的主要角色被阐释的淋漓尽致，为求心安，自由自在自我，便要放飞原本功利狭隘的翅膀。

16岁时看了阿拉伯的劳伦斯几乎要放弃拍电影

And when the film was over, I wanted to not be a director anymore because the bar was too high.

It was the first time, seeing a movie, I realized that there are themes that aren't narrative story themes. There are themes that are character themes, that are personal themes. That David Lean created a portraiture, surrounded the portrait with a mural of scope and epic action, but at the heart and core of "Lawrence of Arabia" is "Who am I"?

I started making movies when I was a young kid, but I remember the time I almost gave up my dream of being a movie director. I must have been 16.

越对什么事情感到自信或确定无疑，成果就越少

The more I'm feeling confident and secure about something, the less I'm gonna put out. The more I'm feeling, "Uh-oh, this could be a major problem in getting the story told," I'm gonna work overtime to meet the challenge and get the job done. All right, that's done. I don't know if it's worth it.

Spielberg:And so, I hate the feeling of being nervous, but I need to feel in this moment I'm really not sure what I'm doing. And when that verges on panic, I get great ideas. The more I feel backed into a corner, the more rewarding it becomes when I figure my way out of the corner.

Just before I went off to make "Jaws," I got to meet Henry Hathaway. He was kind of a tough-guy director, and he said, "There's gonna be moments where you're gonna get to the set and you're not gonna know what the hell you're doing. It happens to all of us. You've gotta guard that secret with your life. Let no one see when you're unsure of yourself. Hide that from everybody, or you'll lose the respect of everyone."

未见到的潜在危险更让人恐惧，细腻的心理层面

I knew that it's gonna take three or four weeks to rebuild the shark, and so we'd have to make up something else that didn't exactly show the shark but gave the sense the shark was near.

The barrels were a godsend, because I didn't need to show the shark as long as those barrels were around. What you don't see is generally scarier than what you do see, and the script was filled with "shark." Shark here, shark there, shark everywhere. The movie doesn't have very much shark in it.

John Williams:If the shark had been available visually, it might have changed the whole psychology of the experience.

青少年时期的自我认知，摄像机就是笔

I didn't have a lot of high esteem for myself, you know, growing up. I just was a lonely guy.

The camera was my pen. I wrote my stories through the lens. And when I was able to say "action" and "cut," I wrested control of my life.

But I didn't know anything about whether I was gonna have a career or where this was gonna go. I just knew that it filled up the time and it gave me a tremendous amount of satisfaction. And the second I finished a movie, I wanted to start a new one because I felt good about myself when I was making a film. But when I had too much time to think, all those scary whispers would start-- start up. It was not fun to be me in between ideas or projects.

遇到伯乐

"If you sign with us, I will support you as strongly in failure as I will in success."

对镜头语言的掌控

Steven Bochco:Steven had a gear in his brain that automatically translated words into pictures almost without it being a conscious process for him. There was a unique visual voice there that you had to not only pay attention to, but you had to give somewhat of a free rein to.

Edelstein:Right off the bat, it was clear that no one moved the camera like Steven Spielberg. Other directors had a fantastic sense of space. Orson Welles, you name it, people who understood composition. But the way that Spielberg's camera moved through a shot and then ended up somewhere that completely shifted or intensified the emotion of the scene, that was just a natural gift he had. Who knows where that came from. Who-- but it was his own technique.没人象斯皮尔伯格一样移动摄像机。其他导演有很出色的空间感。随便说一个Orson Welles非常理解构图。但是斯皮尔伯格在一个镜头中对摄像机的移动，以及在某一处停下来，完全改变或强化了场景的情感，那是他的天分。

George Eckstein called me and said, "Network's really upset that the truck didn't blow up, so they're ordering us to go back to that cliff and blow the truck up." And I said, "I'm not gonna do it." The death of the truck is so agonizing. I said, "I made that truck die slowly." The oil, like blood, dripping off the steering wheel. The wheel slowly rolling to a stop. The fan still going, but the truck's dying. I mean, it's the death of the truck. That's what the audience wants to see. This criminal element paying-- you know, paying the price for what it did to this man. I wouldn't do it. I wouldn't blow up the truck.

对表达媒介的熟悉

Bochco:For Steven, the little screen was an interesting canvas, and obviously he painted on it very well, but he knew that this screen simply wasn't a large enough canvas.

Spielberg:For me, directing is camerawork, and so I'm very on the front line of that. I've gotta set up the shot, I've gotta block the actors, choreograph the movement of the scene, bring the camera into the choreography, figure out when the camera stops, how it moves, how far it moves, what the composition is, so I've always got my eye on the lens, and that's what I do. I even pick the lens I want.对我来说，导演就是摄像技术，因此我总是在摄像的前线。我需要设定镜头，隔离演员的因素，为镜头设计动作，将镜头带入到动作中，确定摄像机什么时候停止，怎样移动，移动多远，构图是什么样的，因此我的眼睛总是关注在镜头上，那就是我所做的。我甚至会自己挑选想要的镜头。

Scorsese:His strength is really the ability to be able to tell a story in pictures instinctively. I sometimes watch his pictures on TV without the sound just to see the pictures.

Edelstein:Pauline Kael, one of the most influential film critics of all time, wrote in "The New Yorker" that Steven Spielberg had made one of the most phenomenal debuts in the history of film. She compared him to Howard Hawks in terms of how natural his feel for the medium was. What Kael saw in Spielberg was someone with a real movie sense, but she also said she wasn't necessarily sure there was great depth to go with it. She didn't see a sign of an emerging film artist like Martin Scorsese. What she saw instead was the birth of a new generation Hollywood hand.

幸运的处于一个活跃的文化氛围中

Spielberg:We were very, very fortunate to be part of that time. The culture was converging. It was filmmakers, it was artists, musicians, performers. It was an incredible, fertile time.

未曾有意追求电影的精神内核，自己的精神层面会通过工作渗透到作品中

I don't search for films consciously that have a spiritual core. There's a spiritual part of myself that happens to bleed over into the work, and so I subconsciously, which is the only choice that's important, will find things that inherently have something of a belief system that's beyond our understanding, that's a little bit out there.

人与人之间的联结

Coyote:For many years I wondered about the universal appeal of this movie, and one day, it hit me. There are no two humans on Earth that are father apart than those humans and that alien creature. And if Elliott, and the mother, and the little girl, and the scientist, could all love and empathize and make a rapprochement and a rapport with this creature, so, too, can any two humans on Earth, and I think that was a subtext that bubbled up through the film and must have touched something, because you don't get many films that are universally loved and appreciated 40 years later. And it spoke to something. Some desire to be able to reach across boundaries and touch other people.

对儿童演员的特别关照

Spielberg:I think all of my movies that have dealt with young people and their stories are about the importance of empowering these children to take control of the story, at least take control of their lives.我所有的电影都与年轻人和他们的故事有关，使这些孩子们更强大，控制故事的呈现很重要，至少他们可以控制自己的生活。

二战喜剧片带来的失败与挫折

But it was like I committed a war crime by making "1941." Everyone was eviscerating it. I was really devastated. Just that feeling of failure, that cold emptiness, where every reminder of the movie, you get that sick feeling in the center of your stomach, and you just want to go dig a hole and stick your head in it. I mean, for the next year, I put my head in a lot of holes. And my friend George Lucas came to the rescue.

自身的成熟，期待电影在更本质更人性方面的变化

Spielberg:I was looking for a different perception of myself. And if I didn't want to consciously make a departure and prove something, not just to myself but to everyone else, I might not have chosen "Color Purple" as my next movie. But it was my first really mature film, which took on, you know, substantive, humanistic subject matter. I was turning 40 and I was looking at life perhaps less optimistically.

紫色中本可以有更深入的表达

Spielberg:I got in trouble with several critics who didn't like that I shied away from the love story between Shug and Celie. And the scene where Shug Avery shows Celie, with a mirror, her vagina, that that did not go into the movie, which would've really changed the entire nature and tone of the film. I just didn't go for the full monty the way the book did. I might've done that had I made the movie 10 years later. I was just timid. I was just a little embarrassed. I just wasn't the right guy to do that.

对自己犹太人身份从拒绝到接受

I certainly experienced being excluded and being picked on and discriminated against. All I wanted to do was fit in. And by being Jewish, there was no way I could fit into anything.

I began to deny my Jewishness, you know, began to deny everything that I had accepted as a child and was not willing to accept if it was going to make me a pariah. I was ashamed of myself. I still feel ashamed of myself even remembering that long stretch of my life where I didn't want to be Jewish anymore.

辛德勒名单的基调

I tried to do it with no fancy tricks, no fancy lenses, no big Hollywood sweeping cranes. I tried to take all the tools with which I made so many of my films and just chuck them out the window. I never handheld anything, but I wanted to handhold as much of "Schindler's List" as I possibly could. I just wanted to create for all of us the feeling that we were absolutely there at the time.

光影的隐喻

Neeson:Oskar Schindler was a gregarious man. He was a second-rate businessman. Bit of a shady character, you know? A man about town, loved the women, loved his booze. A bon vivant, that's what he was.

Spielberg:Everything we do in this medium is about light and shadow, how the cinematographer lights the actors, lights the set. If you look at "Schindler's List," Amon Goeth was always lit beautifully. He always had that beautiful front light. You know, the guy was very clear. There was no mystery in him. You don't have to enhance his evilness, if you may say, by lighting. Now, if you look at Oskar Schindler, that was a confused individual. He came to Poland to make money, so it's always glamorous, but always shadowy. And then as the movie's progressing, he gets more frontal light. The shadows disappear.身为导演的情感投入，以及电影之外的社会互动

It was, emotionally, the hardest movie I've ever made.

Kennedy:That was a pivotal moment in Steven's life. He recognized he couldn't take any of the profits from the film. He wanted to give something back, so he started what became the Shoah Foundation, documenting that oral history and capturing history in a way that allowed people not to forget.

多面手

Robert Zemeckis:For a filmmaker, you can't have a better producer than one of the greatest directors in the world. He really nurtures young talent coming up. It's a pretty amazing roster. He's also a major figure in the television business. He started a restaurant. Dive! Submarine sandwiches. The man was, like, doing 27 things at once and being perfectly unselfconscious about it.

Geffen:I don't think Steven really fears anything. He's always ready to go and do something new.

拯救大兵瑞恩中镜头距离与观众心理感觉的关系，声效，应变能力

Spielberg:I tried very, very hard to put the audience as close to the experience as I possibly knew how to do so there wouldn't ever be a safe feeling in the audience. And when you narrow that distance-- if you're successful in narrowing the distance, then the audience really becomes those characters.

Edelstein:In "Saving Private Ryan," Spielberg understood the expressionistic possibilities of sound.

And if you're not Steven, if you don't have this lifetime of cinematic language in your head, that's a different kind of day. But because his eye is so connected to his brain and every movie that he's ever seen and every movie that he's ever made, he just went out and said, "Here's how we're gonna do this, and that's it." Incredible.

自身的情感挫折与电影作为治疗方法

It was complex for me for a long time, but at least I had a art form that I could filter it through. At least I had that. If movies did anything for me, it-- I've avoided therapy because movies are my therapy.

“无论怎样都要争取自由”的电影主题，爱国主义与理想主义

Insdorf:There are people struggling in one way or another for freedom in these movies. Give... us free. He doesn't take freedom for granted.

Spielberg:I really believe in this country, and I always have. And it just resonated throughout my work-- wanting to tell American stories, wanting to tell stories about principled, ethical people who, against all advice and against most everyone else's better judgment, just proceed to do the right thing. I'm sure that sounds like I'm this kind of, you know, idealist or some sort of a patriot, but I am a patriot. And I'm somewhat of an idealist, too.

讲故事的方法

Steven worked a long time to find where the story was to tell it.斯蒂芬会花很长时间去找在哪里讲故事。

保持中立

Spielberg:I felt I could not make this one-sided. And so, I knew it would be controversial from the very get-go.

Daniel Craig:This movie was trying to affect and turn on a debate. Is vengeance the answer? Does it actually solve anything? If you continue the cycle of violence and cycle of blood, then... that's what they'll be and nothing else. Steven was very keen to tell a human story, that these were men and not superheroes. Their indecision and their mistakes and their-- is the reality of what happened, you know? Life isn't a "James Bond" movie.复仇是否就是答案

叙事的方法

Kushner:You're in the hands of somebody who will always show you what you need to see in order to understand, on a narrative level, what's happening. And you'll also see a lot of things that will help you understand on deeper levels as well. And that sort of narrative device

电影带出的不确定性

Hoberman:The movie was perceived to be suffering from a sense of moral equivalence, which is really the bravest thing about the movie. It's looking for aspects of humanity on both sides of this conflict. Ambiguity is something that you don't normally associate with Spielberg's films, and "Munich" is the film where he went the furthest in the bluntness and the ferocity with which he approached that subject.

家庭，分离与重聚

Spielberg:Family is a big element in my life, which is why so many of my stories are about separation and then reunification. Even "Lincoln" is about separation and reunification.

工作团队的稳定，与他人合作，激励同伴

Williams:He understands that people and can serve him and how to synchronize his wishes with your own. He would've made a great general.

在看电影中不断学习

Kennedy:Steven looks at movies constantly and over and over and over again, referencing shots and framing and ideas. That's something Steven does all the time.Spielberg:Great filmmakers' works live on to create tremendous moments of inspiration. And so, one of the films I still see every year is "Lawrence of Arabia." The shots, the sheer vistas, and the portrait of such a complex character, it's pure moviemaking. 伟大的电影导演的工作是创造巨大的启发性时刻。自我审视中的过去，成长

Spielberg:Many years ago, Pauline Kael gave me a really great review on "Sugarland Express," but she said, "Whatever's on the surface might be all that is there. There may be nothing behind that." And she was absolutely right. I hadn't grown up yet through the movies. That was going to come in time.

到现在为止的评论

Maslin:Take a look at what he's done over close to 50 years. There's certainly a lot of variety. There are some things he's done that haven't worked, but there is absolutely nobody like him and no film career trajectory that is anything like his in the history of film. He speaks cinema as if it's his native language. He is so fluent in it that he does things that nobody else would dare to do and they are instantly recognizable as things that are purely his.

Scorsese:He has a dynamic sense of real filmmaking. I'm talking about filmmaking of--in the great narrative tradition of American cinema. 真正的电影制作的动态感

Coppola:Steven was blessed in that he could be commercial and he could do art.That's why I always compare him to a kind of George Gershwin, because Gershwin could write a Broadway show or he could write "Concerto in F." He could both, and very few people can do both. And Steven can do both. And that's a talent you have to be born with. 商业与艺术

我本人不太会打分，很显然这部电影并不能算在有特点的优秀电影的行列，比起电影本身，可能还是那段真实发生的历史更打动我，那是段无法挽回的时光。相较于前期的baragaki，我更欣赏冈田塑造的副长在后期。其实对于这部电影中的副长，我的评分是随着电影从前到后，逐渐变高。因为是几个月前看的电影，所以我记不太清具体的片段，大概是从前往戊辰战争开始吧，演员冈田的那种沧桑感很好的为副长的形象增添了魅力。后来前往虾夷，照那张经典的也是真实历史上土方唯一留下的照片时，副长看到的曾经存在过而如今再也回不来的近藤冲田井上（应该是他们三个吧）和他那时候的眼神，真的让我无法忘掉，看的我真的心里很难过。还有最后在土方已然落魄时，看见的身着明治军装的七里，曾经占优势的土方早就和七里互换了立场，我只能感到心酸和悲哀，为了这该死的宿命感。最后的结局，电影做了和历史上不同的改编（也许是因为司马小说的结局如此但是小说我没看完……），也许会有人觉得最后在正面独自冲刺中被乱枪射击而死更显英雄主义，但是我倒是觉得历史上在战场上被流弹击中——甚至有可能是己方士兵的子弹，更能表现出独属于土方岁三的悲剧感，是独属于他的颜色和一生。最后提一嘴，冲田在临死前和黑猫对峙那块，拍的真的很美，易碎的苍白的悲剧的。后来我想了一下，除了当时的剧情和画面设计还有演员本身的演技和相貌外，好像那个时候的总司莫名就没了月代头？？？不知道为什么人们对冲田的印象总是月代头，但是……真的不好看啊！！！