住货车的女士

这部温情电影是去年无意中看到的，人生的道路必然有失有得，这位女士的人生堪称悲剧，但是在人与人之间那种微妙的感情，在这种人生际遇下又是十分幸运的。

人不可能永远把自己困于枷锁中，也永远不可能对他人展开心扉，这样的矛盾体，才能构成我们。

在这个社会里，很多人不得不将自己困于混沌，却又贪恋这样的孤独境地。

当时看预告的时候就很期待这片，直到某一天翻了IMDB才意识到原来Alan Bennett大手一挥历史系男生们全员都跑来客串了。

想想离History Boys已经过去了十年还真有点reunion的意思，这片一上映不知又要勾起多少迷妹迷姨们怀旧的小心思。

之前有幸在LFF期间看了首映，每个历史系男孩/老师出场的时候我都像是被彩蛋砸到一样傻乐呵，然而想起当时坐的位置只要扭头就能看到坐在观众席里的Samuel Barnett和男友更觉得不可思议。

于是赶在英国上映的这天努力回忆了下历史男孩们扮演的角色，有不准确的欢迎补充Jamie Parker - Scripps 房产中介，只给了远景和背影，完全靠声音辨识。

-->没想到正式上映版重新剪辑了加了两个近景镜头【。

Dominic Cooper - Dakin演员，性格还是那个Dakin。

James Corden - Timms小商贩，小胖混出头了同样是客串只有他出现在了海报上，他客串的那段还出现在了预告片里。

Samuel Anderson - Crowther完全记不清了，但是Anderson当晚去了首映还在我History Boys剧本上画了个signature自画像，说是跟Alan爷爷学的。

Russell Tovey - RudgeAlan Bennett的小情人，小狼这次戴的假发可是酷炫。

Samuel Barnett - Posner 邻居，一个unemployed actor，看完电影出来三苗还特别贫地说你看我出现在正片里啦！

他们没把我的部分剪掉！

Sacha Dhawan - Akhtar义工医生。

Andrew Knott - Lockwood接miss sherperd去day centre的护工。

Stephen Campbell Moore - Mr. IrwinAlan妈妈的医生，之前问Stephen他说自己演了个医生就一句台词，事实上，还是有好几句的。

另外Stephen的家属Claire Foy也来友情客串了，就是给奶奶送大衣的那个义工。

Clive Merrison - Headmaster去教堂路上遇到的路人。

-->正式版这里也改了成了在忏悔室遇到的人。

Francis de la Tour - Dorothy邻居Ursula，Francis奶奶演的可是正经八本的supporting role。

Geoffrey Steatfeild - Mr. IrwinAlan的情人，最后看到Geoffrey特别惊喜。

04年底NT History Boys revival时原卡Irwin的演员Stephen已经签了几部电影，于是在其他卡司保留的情况下找了Geoffrey来演了一季的Irwin，所以情感上说他也算半个原卡。

很有趣的一部英伦小片。

前阵子一直在补奥斯卡 突然看到这部 英国的乡村、艳丽的小车、 穿着啊谈吐很多细节凑在一起，反倒有种说不上来的喜欢。

以剧作家为主视角，画外音是他的剧本，辞藻华丽的有点夸张却有一种英式冷幽默。

当然是冲着Maggie Smith去看的 英国国宝级老太太。

唐顿庄园的时候就爱极了她 这又隔了几年看着Maggie明明已经老的无处可藏可她的动作神态台词却依然那么有活力那么有趣。

刷车/轮椅/游乐园/救护车每次看Maggie演高兴的样子就会不由自主跟着欢乐 这是Maggie独有的难得的感染力。

回看的时候才发现其实开头的两分钟里包含了后面所有的悬念 随后伏笔也是无处不在的 飞扬跋扈的老太看见警车却慌张的钻到车下 听见邻居琴声便极尽毒舌之能事。

事实上 梗铺的越深才让故事越有滋味。

或许把老太的故事充盈的过为丰富 梦想也好救赎也罢 最终还是一个打破孤独感的故事。

作家孤独的都double了却不愿与自己老年痴呆的老母合住 是嫌弃还是什么我还真的说不好。

同时导演又有意无意的把老太和作家的母亲联系在一起 例如社区街道上的巨蟒与母亲家门口的四只孔雀（看到孔雀的那瞬真是仰天长笑hhhh 但作家却很乐于与这位奇怪的老太合住 是怜悯还是渴望陪伴我也说不好，好像一层微妙的关系连接着彼此。

原以为会逐渐温情 可英国人总是冷不丁又给你一句满含深意的台词 谢泼德小姐对作家说You have used your mother, now you can use me. 老太步入生命的终点 作家便越发对自己曾经对这个近在咫尺的女人的冷漠嫌弃耿耿于怀，直到最终化为一丝羞愧。

我觉得这个故事想传达的重点就在这儿了。

人与人的交往是相互的 从作家的角度看谢泼德小姐打破了他的孤独却没有打破他内心的偏见和傲娇 包括强迫自己不去写不去想创作关于她的故事 这源于许多人这辈子都跨不过的本能冷漠 即使所有人都认为他是个好心肠的圣人他自己却依旧不能妥协。

而对谢泼德小姐来说这15年的“霸占”已是一场巨大的胜利 无厘头的升天真是神来之笔 一段剧情片里不该有的特效 最后的最后调皮的老太太用这样的方式去表达释怀，释怀了自己也释怀了作家 让这段交往的时光写进作品 变得有意义。

妙极。

我想可能不会再有这么适合80岁的Maggie再能拍的本了。

很不喜欢电影以精神分裂的作家角度絮絮叨叨地叙说这个故事（看睡着了），但是这个古怪的老太婆的形象深入我心——明明是热爱音乐的优雅的钢琴手，却在教会弹钢琴时被伪善的修女责怪“不顺从”“不配当修女”；被家人误解，关进精神病院；逃脱后，误以为自己撞死了年轻小伙子，住进货车流浪街头，周身秽物、散发恶臭，还被社区居民议论、嫌弃。

她可怜，但又倔强、戒备，不需要任何人同情和好意（“我知道！

我会！

我拿过奖的！

”）。

明明是个脾气很臭的老太婆，却在坐轮椅“滑雪”时开心得像个孩子。

作家了解了她的身世后给她带了花。

“花？

我要花干什么？

它们只会死去。

”就像热门短评说的那样，这种电影看多了会觉得心中的某一部分满足地死掉。

看后的感受很复杂，因为是真实事件改编，所以感到心塞，但很被治愈，又有点内疚（因为没有静下心去看，认为情节太过平淡，不是“爽片”）。

老太婆把货车漆成黄色一定有什么寓意，但我不知道。

“贝内特先生，握住我的手。

手洗已经过了。

”

Title: Murder by DeathYear: 1976Genre: Comedy, MysteryCountry: USALanguage: EnglishDirector: Robert MooreScreenwriter: Neil SimonMusic: Dave Grusin Cinematography: David M. WalshEditor: John F. BurnettCast:Peter FalkPeter SellersDavid NivenJames CocoElsa LanchesterAlec GuinnessEileen BrennanMaggie SmithEstelle WinwoodJames CromwellRichard NaritaTruman CapoteNancy WalkerRating: 6.2/10

Title: The Lonely Passion of Judith HearneYear: 1987Genre: Drama, RomanceCountry: UKLanguage: EnglishDirector: Jack ClaytonScreenwriter: Peter Nelsonbased on the novel by Brian MooreMusic: Georges DelerueCinematography: Peter HannanEditor: Terry RawlingsCast:Maggie SmithBob HoskinsWendy HillerMarie KeanIan McNeiceRudi DaviesPrunella ScalesÁine Ní MhuiríAlan DevlinSheila ReidVeronica QuilliganPeter GilmoreAidan GillenRating: 7.1/10

Title: The Lady in the VanYear: 2015Genre: Comedy, Drama, BiographyCountry: UKLanguage: English, FrenchDirector: Nicholas HytnerScreenwriter: Alan Bennettbased on his own memoirMusic: George FentonCinematography: Andrew DunnEditor: Tariq AnwarCast:Maggie SmithAlex JenningsGwen TaylorDeborah FindlayRoger AllamPandora ColinFrance de la TourJim BroadbentDermot CrowleyClare HammondCecilia NobleNicholas BurnsDavid CalderDominic CooperClaire FoyJames CordenRussell ToveyMarion BaileySacha DhawanClive MerrisonStephen Campbell MooreAndrew KnottJamie ParkerSamuel BarnettSamuel AndersonAndrew KnottRating: 6.3/10Oh, this one really hurts. We all know this day will come,, but how can we bid adieu to Dame Maggie Smith (1934-2024) without being inundated by an oceanic ebullition of incredulity, loss and grief? We could only commemorate her by watching her works. Here is a mini-marathon of 3 films chosen from her illustrious career spanning nearly seven decades, starting from a posho lady playing an undeterred foil to his equally posho detective husband in a shamus pastiche, to a fancy-free spinster, whose apparent romantic late blooming only drags her down to alcoholism and utter misery, then culminating as a slovenly homeless old crone, bedeviled by guilt, obstinately lives her remaining days on her own terms and en passant, she becomes an inspo for a writer who is fascinated by her heterodox way of living. Robert Moore's MURDER BY DEATH flagrantly pokes fun at the murder mystery genre and its sundry authors, corralling five world-famous detectives (a caricature of Hercule Poirot, Miss Marple, Charlie Chan, Nick Charles, and Sam Spade), and their plus ones, to a country manor where its reclusive owner Lionel Twain (Capote, in a sally into playacting) pontifically announces that there will be a murder before midnight, and taunts that none of them could solve it. Then since there are only three persons (Lionel, a blind butler and a deaf-mute and illiterate maid) are present other than the ten guests, the plot archly plays permutations to assign who is the victim and who is the murderer, while sending up the time-honored tropes and proffering flat-out implausibility to keep the detectives engaged in their heated yet utterly fanciful deductions. While some gags are zany (Guinness's unflappable tricks as the blind butler Jamessir Bensonmum are sublime and Coco's Poirot travesty has its own delightfully flaming moments), the rest of them are either facetious (Sellers's Sidney Wang rather gets one's back up for its conformable racist infelicities, after 40 years, you would think some revisionary measures could've been implemented to the denigrating Charlie Chan stereotype), run-of-the-middle (Niven's William Powell imitation and Lanchester's Miss Marple variety are relatively unexceptional, even Smith's style seems to be cramped by the outrageous goings-on) or wastefully frivolous (Falk pulls a straight face to nail down his hard-boiled Sam Spade impression). The studio-bound setting and artificial-looking mechanic props never endeavor to add any semblance of veracity to the beggars-belief yarn, which is full of loose ends - what happens to the room-swapping legerdemain?For a tongue-in-cheek spoof, it can get an artistic license to be intentionally nonsensical as long as it is able to keep its pace afloat. Unfortunately MURDER BY DEATH feels lackadaisical and cartoonish by concertinaing its twists and reveals up to the gill (flogging to death the face-changing antics). It ends up as a mere fluff, an eager beaver undermined by its own self-aware frivolity. THE LONELY PASSION OF JUDITH HEARNE is Jack Clayton's theatrical swan song, where Smith's plays the titular Miss Hearne, a middle-aged private piano teacher who moves into a new rooming house in Dublin, and is taken by the landlady's brother James Madden (Hoskins), a fresh-homecoming widower from New York City. Getting their wires crossed, Judith is thrilled by a gentlemanlike James's interest in her, while he is spoiling for a funder to bankroll his local business and under the wrong impression that she is a lady with dough to spare. Ergo, in the aftermath of the inexorable disenchantment, Judith is devastated and gets off the wagon. Her alcoholism is a secret that has cost her dearly and she tries very hard to conceal. After a complete mental breakdown and losing faith in her religion (she is Catholic), Judith is taken to a rehabilitation home to recuperate. While Clayton’s affinity for eliciting fine, resonant performances out of his cast still rules the roost and Delerue’s grand, poignant score is all too captivating, Peter Nelson's script, based on Brian Moore’s 1955 novel JUDITH HEARNE, orchestrates a fairly uncharitable picture of the Irish people. One would hope that some sort of female solidarity shall be in operation, but no, the stigma of spinsterhood turns everyone else against Judith, not least other fellow spinsters. She is subjected to be a laughingstock and can barely be acknowledged as a "woman" by the opposite sex, whether she is unwitting or not. The landlady (Kean, don't be cheated by her beaming affectations) summarily deems her as unfit for her brother as if a dumpy and hard-up James were a good catch! Even her bond with Moira (Scales), the only friend she can rely on, is marred by Judith's harsh disclosure of her true feelings. On the spear side, the prospect doesn’t look any better. Bernard Rice (McNeice), the lascivious and shiftless son of the landlady, is a corpulent swine; Father Quigley (Devlin) is sanctimonious and cannot relate to Judith’s tormented psyche. But an inexcusable mistake the film commits (even taking into account of its 1950s backdrop) is to be an apologist for the rape culture. James is unpunished for his horrific act of ravishing a young housemaid (Davies), whose flirtatious nature is implied by the film as the bane of her worse-than-death fate. The obscene sequences are more unsettling as they are boldly crosscut with Judith’s revelry in her own one-sided infatuation. Moreover, near the end, James has the temerity to touch base with Judith when he again plies the same deal without any self-examination of his misleading and self-serving actions. It is almost unthinkable that this man, who is reckoned as a charming, courteous gentleman, but cannot control his primordial urged, will break Judith's heart and be rewarded with a kiss on the cheek in the end (Hoskins, against all odds, incarnating the banality of evil with a halting resistance which somewhat humanizes James’s frailties). All those points up the author’s own jaundiced view on gender discrimination and an abortive corrective from the filmmakers, that impede the film from branching out to new audiences. Be that as it may, Smith's dominant performance makes the film eternally worthwhile. Her rendition cuts deep to the bones of a pious and piteous woman's yearning to make up for her lost time - Judith's prime is squandered by attending to her anal-retentive, bed-ridden aunt (a magisterial Hiller), her sole kin - and how precarious it is. One couldn't help but be transfixed by Smith's supernal prowess of vividly objectifying Judith's drastic emotional roller coaster in front of the camera. Her lengths of immersion into her personage are fathomless and her outpourings are originated from within her own being, never for a second, they betray any trace of deliberateness. Judith is such a precious role that permits Smith to run the whole emotional gamut from ecstasy to utter wretchedness, which she pull off with flying colors. Like Judith’s final gesture, tossing the paper out of the car window. A simple movement but potently demonstrates that she now accepts her spinsterhood with a regained strength. The whole affair is a painful lesson, which exhausts both her savings and longings, but she survives it and becomes wiser and savvier. Clayton’s film sticks its landing with a perceptible finale and Smith consummates another tour de force. THE LADY IN THE VAN is conceived out of the renowned English playwright/screenwriter/author Alan Bennett's own memoir, about Mary Sheppard (which is actually a false name), an elderly woman dwelling in a ramshackle van in the gentrified Camden during the 1970s. When Bennett moves into the area, he lets her park the van in his own driveway. Their cohabitation lasts for 15 years till her death in 1989. Starting with an oblique hit-and-run with Mary (Smith) at the wheel, the film accessorizes the main plot with Mary's own past. A lapsed Catholic nun with a flair for music, Mary's plight can be subsisted in how the Church has failed her by snuffing her talent, how she has been beset by the religion-indoctrinated guilt of an automobile accident which is not entirely her fault. She prayers like a mad for redemption and is constantly on the run, which explains why she lives in a van. Watching side by side with THE LONELY PASSION OF JUDITH HEARNE, a viewer cannot turn a blind eye on the deleterious implications angling at the Catholic church, a sign of the times that stokes the prevalence of Anglicism. If Mary's life is an outgrowth of a series of mishaps, it is her mind-her-own-business tenet shores up her solitary survival. When you really do not care about the judgments from others, you live freer and happier. That is the strength propels Mary’s life, who takes the favors from her wealthy neighbors for granted without a throwaway thank-you as if she could sense that their kindness is shrouded by the guilt. Naturally, people need to feed on other people’s misery to feel good about themselves (that’s why news report are swamped with tragedies), so in a way, her neighbors need her more than the other way around. Furthermore, the semi-friendship established between Mary and Bennett (Jennings) never reaches a boiling point. Mary’s appreciation to him is not demonstrative, whereas Bennett maintains a polite distance and takes an interest in her more for his own creativity’s sake, out of which it would germinate an essay, a book, a stage play, a radio play and finally a motion picture treatment. The film’s temperature remains consistently tepid, with Smith doing wisecracks (“It doesn’t matter whether it is distilled or not, it’s holy water!”) and bossing around in her usual carriage. The two-hander turns lopsided as Jennings is refractorily aloof, even if the film does some digital wizardry to conjure up two Bennetts (one himself, one his alter ego, the writer), mistaking a stiff upper lip for reserved emotions. With Bennett assuming the job of the scribe and his regular collaborator Hytner at the helm (the film is studded with cameo roles from the ensemble of Bennett’s 2004 play THE HISTORY BOYS, whose success is parlayed into a cinematic adaptation in 2006 by Hytner with the same cast), THE LADY IN THE VAN cannot erase the unfavorable impression that it is an exploitation and encroachment of a poor soul who just wants to be left alone, not to be ridiculed, caricatured or sentimentalized, with whom Bennett only deigns to build a connection on account of his immense sympathy (plus a strong scatological tolerance). The tawdry CGI shots of ascension is a desperate move of insincere adulation. As per usual, Smith is the saving grace, whose crinkled face conveys an indelible aura of weather-beaten sorrowfulness. When Mary finally bestirs herself to tickle the ivories, music’s soothing and healing power washes all over us and on screen there is a serene valedictory snapshot mirroring Smith’s own life on earth. R.I.P. our beloved dowager, we are forever indebted to her artistic legacy, populated by her undiminished wit, élan and pathos.referential entries: Jonathan Lynn's CLUE (1985, 5.5/10); W.S. Van Dyke's THE THIN MAN (1934, 7.9/10); James Ivory's QUARTET (1981, 6.2/10); Clayton's ROOM AT THE TOP (1959, 6.1/10); Dustin Hoffman's QUARTET (2012, 6.0/10); Nicholas Hytner’s THE CRUCIBLE (1996, 6.9/10), THE HISTORY BOYS (2006, 6.9/10).

谁贴的喜剧标签？

除了末尾墓地对话和升天，整个看得人苦哈哈的，哪里喜？

大概，同性恋取向和COMNST暗示的时代限定刻板印象，算个笑点？

英式幽默我不懂，但英式悲伤我太懂了。

她沦落至此的故事，应该跟原著一样用的作家主视角，给我们一些过往路标和生活片段，讲得收敛克制，不让人望而却步的同时，又保证会戳到痛处。

//真相大白时，说是天降无妄也可，但确实因为一念之差，给自己的良心戴了副铐子。

某种意义上的选择，但我绝对没有想说“自作自受”的意思，只是唏嘘。

what if她乖乖回去做笔录，事情调查清楚，她一清二白，不会被垃圾cop敲诈，不用心理负罪四处逃窜，精神紧绷、竖起戒备高墙，她可能捡起钢琴演奏，进乐团或当家教，也可能当出租车司机，起码温饱有着落、服饰干净面容整洁、生活安定。

但也很难讲她停在现场配合，会是这么乐观。

毕竟，追索她的是那个垃圾cop，即便清楚是另一方负全责，说不定看这位报警者战战兢兢，恶向胆边生，敲一笔更大的。

但起码走公开程序，有协同勘查，有申辩机会。

（不得不说，在没发生的事情上，我偏向乐观。

越是这样，也显得现实操蛋）而事情已经是这样的，只能说按照她的性格，在紧急状况下的下意识反应就是如此，不存在what if。

稍微能变动一些的，是cop，若遇见的是一个按章办事的，警告加罚款，了结一切。

屋漏偏逢连夜雨勿以恶小而为之但求俯仰无愧于天地没想说教的，但还是拐到这里。

说教对于后来者可能有用，但也有限。

事到临头，人哪能考虑这么多？

更别提还有这无处不在又无法预料的恶意。

思辨反省留给少数人，活着挣扎才是多数人。

//Tough life makes people become difficult/eccentric.按照演员和装扮变化，捋了捋女主时间线。

小时候，爱干净、懂事、不用大人操心、有小红花。

年轻时，去法国，师从名家学琴，会法语。

回到英国，进了修道院，被禁止接触音乐。

二战期间，开救护车。

然后是让她一down到底的那个车祸偶遇。

精神状态不佳，被哥哥送去Asylum监管/隔离。

关不住，跑出来，开始街区游荡的货车生活。

车祸后她所遭受的惩罚（或不幸），内外交加，远远超过了她所应当的。

不公。

尊严，骄傲，较真，用刺儿来维持摇摇欲坠的体面（不想说傲娇，这个词儿轻浮，有种不食肉糜的调调，压不住这几十年风霜刀剑蚀刻出的人）必须承认，看这部电影我是想在心里打个底。

不婚不育，异国他乡，出租屋（努力一把，自建小宅院）孤独终老，是现阶段看来可预见的结局。

我觉得挺好，但真的过起来会怎样，还是忐忑。

为了安慰自己，找来感觉更悲惨一些的经历来以毒攻毒。

看完之后，确实添加了一些勇气。

车到桥头自然直，人老了就有“爱咋咋地”的资格。

会体衰力弱、腿脚不便，但有口气、有点精神，没什么坎儿是过不去的。

最怕的是植物人、无意识或健忘症，太麻烦了。

//中产邻居们叽叽喳喳传八卦、表面礼貌内里凉薄有良心但不多，也别苛责（我自己在场，不会做得比他们好，甚至我根本没有独栋别墅的停车位，能让她停车）应是社会的活儿（福利制度）//福利制度中后期社工介入变得专业规律，但终究没有全面接手。

即便老人院那样的一揽子方案，也无法达到无微不至的效果。

（caring是一件耗时耗力的专业情感劳动，而人的情感需求又复杂多变，不是流水线一样的服务标准能满足的。

要么说久病床前无孝子、死比活容易，因为漫长的照料是马拉松，死亡是终点，死亡不可预见，照料越久越觉得辛苦疲惫。

死亡的处理，不仅比照料容易简单好多层，社会提供的关注和支持（不管是给活人还是给死人的）更是几倍不止。

）所以说作家是心最软的（bullied），lazy确实三个月变十五年开始是过意不去的好心、妥协，中间当捡屎官（字面意义，看呆我）那是无可奈何、吵也吵不过那就凑活过、破罐子破摔，后来抬头不见低头见、一段不见还想念、处出感情了//专业护工拉老太太去日托这段，泪目1 小哥帮她拉了拉裙子，包住膝盖，给她体面2 坐轮椅上被自动托举到车厢，画面是她的侧脸，旁白是作家说看到了她流浪者的高贵——————————————世界当然不会充满爱，但纯粹的恶什么时候滚出人间。

1利用她畏罪潜逃心理实行敲诈勒索的cop，是坨屎明知道她其实无辜路过，不仅没阐明事实还加深其错误认知，以此为把柄一勒索就是几十年，甚至她沦落为这样的街头流浪老太太也不放过。

他的每次出现，根本就是种精神折磨，令老太太惶惶不可终日。

他根本不缺这几英镑，目的不在钱，在要钱这个猫捉老鼠一样的过程，对无法还手之人的玩弄，是乐子是享受，是践踏更弱者的变态心理。

半夜敲窗时我想一锤子打爆他狗头2（这种恶，由纯粹之恶被人为塑造教化）拒绝Music，神父和修女，有病活活折损了一个有才华的人3开车的年轻街溜子，什么垃圾砰砰砰砸人车窗，还晃车看得我血压升高4摆地摊时，路过的小屁孩恶语相向

「Boa constrictors in the street, peacocks on the wall. It seems that both at the northern and southern gates of my life stands a deluded woman.」「There were few occasions on which one saw her genuinely happy, and one of these was when she was putting paint on.」「If you choose to live like this, it's what you must expect. → I didn't choose. I was chosen.」「Good-nature, or what is often considered as such, is the most selfish of all virtues; it is nine times out of ten mere indolence of disposition. by William Hazlitt from 'The Round Table' (1816)」「This is London. Nobody thinks anything.」「It's like a fairy story. A parable, in which the guilty is gulled into devising a sentence for someone innocent only to find it is their own doom they have pronounced.」「That was what God wanted. And that I'd been told before. I said, couldn't I just play some hymns for us to sing to? And she said that was arguing. And I'd never make a nun if I argued.」「You write about her all the time, one way or anoter. You use your mother.↓That's what writers do.↓Me next, I suppose.」「You don't understandably resent it when the professionals lend a hand.↓No, though I resent it when the professionals turn up every three months or so and try to tell me what this woman, whom I have coped with on a daily basis for the past 15 years, is like.↓What is she like?↓Mary, as you call her, is a bigoted, blinkered, cantankerous, devious, unforgiving, self-serving, rank, rude, car-mad cow. Which is to say nothing of her flying faeces and her ability to extrude from her withered buttocks turds of such force that they land a yard from the back of the van and their presumed point of exit.」「Mr. Bennett. Mr. Bennett. That social worker wanted to know my next of kin. I don't want my next of kin broadcast, so I said I didn't have any. Only, they're in this envelope. And you keep it under your hat.」「The chair goes up on a lift. And in this small ascension, when she slowly rises above the level of the garden wall, there is a vagabond nobility about her. A derelict Nobel Prize winner, she looks, her grimy face set in a kind of resigned satisfaction.」「Music. How are people supposed to avoid it? You see, I had it at my fingertips. I had it in my bones. I could play in the dark. Had to sometimes. And the keys were like rooms. C major and D minor. Dark rooms and light rooms. Just like a mansion to me, music. Only it worried me, that playing came easier than praying. And I said this, which may have been an error.↓Said to whom?↓My confessor. He said that was another vent the devil could creep through. So, he outlawed the piano. Put paid to music generally. Said dividends would accrue in terms of growth of the spirit. Which they did. They did.」「Mr.Bennett? Hold my hand. It's clean.」「It is a van no longer. It is a sepulchre. Even now, I do not venture into this evil-smelling tomb. But I feel cheated that the discovery of the body has not actually been mine and that having observed so much for so long. I'm not the first to witness her death. Now, in quick succession, come the doctor, the priest and men from the undertaker's, all of whom do what no one else has done for 20 years. Namely, without pause and seemingly without distaste, step inside the van.」「Mr. Bennett? I came into your drive for three months and I stayed for 15 years! Mr. Bennett? Do you know what that is? It's the last laugh.」「Well, she wanted an ascension. Let's answer her prayers. Stand by, Miss Mary Teresa Shepherd, late of 23 Gloucester Crescent. Up you go.」「Starting out as someone incidental to my life, she remained on the edge of it so long, she became not incidental to it at all. As homebound sons and daughters looking after their parents think of it as just marking time before their lives start, so, like them, I learned there is no such thing as marking time and that time marks you. In accommodating her and accommodating to her, I find 20 years of my life has gone. This broken-down old woman, her delusions, and the slow abridgement of her life, with all its vehicular permutations, these have been given to me to record.」「What I've learnt, and maybe she taught me, is that you don't put yourself into what you write. You find yourself there.」「Have a bit more in my life. I might even start living. That's the end of the story. It might make a play. What do you think?↓Now I'm here, I think you should stop talking to yourself.」「Gloucester Crescenrt has had many notable residents, but none odder or more remarkable than Miss Mary Shepherd, to whom we dedicate this blue plaque today.」「MISS M.T. SHEPHERD "The Lady in the Van" live here 1974-1989」

喜欢有故事的人，这个住货车的女人当然是相当有故事的！

最后那次握手，我居然红了眼眶湿了鼻子，似乎感觉到一生的选择。

每个人都会有这么一天，可是不是每个人都那么耐人寻味，即便肮脏随便的活着，她都是内心干净独特的！

一个人要保持按照自己的意念在这世上真不容易！

与其隔岸观火看着别人生活和说着故事，倒是更羡慕生活在故事其中！

做一个有故事的人！

故事没讲清楚，而且文化背景也有点远，宗教会这样拆解人的一生，一次误会拆解日常的生活。

最后熔铸出古怪、骄傲、暴躁、担忧。

其实看电影的很多时候觉得心碎，她把儿时的夸奖记得很牢，对音乐的逃避和毁坏，把坚硬的外壳竖起不对任何人流露柔软。

一个人在海边在旋转木马上像孩子一样笑，一个人在俱乐部里听着音乐缓缓闭上眼睛。

其实她是这样的人，富足、有趣、爱这个世界。

不堪和骄傲揉在一起，大半生都在拉扯的女人，最后小心翼翼地摸了摸钢琴，绝望地发现自己无法遏制音乐从自己的指尖流淌出来，躺在黑暗中绝望而幸福地说，音乐在我的指尖，音乐在我的骨头里。

在黑暗中我也能弹琴。

太喜欢这段了，拉扯挣扎了一生后的绝望和幸福。

男作家的话，也许也不好苛责剧本不够流畅，可能他接触到的女士真的只是这么些碎片。

两个人的设定挺有意思的，胆小的特质也确实接住了故事。

喜欢结尾在墓地，偷看帅哥被叫回，和当年以为自己误杀的小伙子成为朋友，有些滑稽夸张但让人会心地升上天堂。

好吧，这个时候就无须苛责宗教是否毁了她，而是终于一切都如她所愿地尘埃落定。

捐成门槛的祥林嫂。

Maggie特别特别特别特别好，举重若轻、浑然天成。

想起她在脱口秀里时不时想把自己和这个角色剥离开，开玩笑地表达气味啊货车的难堪，我们总有点不好意思和百转千回的老太太，其实你又很爱这个角色，是不是？

逃避的人生赎罪的人生爱与被爱的人生生活是不幸的同时又是幸运的一生中，也许你会活在自责中，或者一直在逃避。

但是请相信世界上有善良的存在。

作家先生，也许不善言谈，但他给了流浪的老人最最温馨的晚年。

生活也许并不像你我想的那么美好，愿你我温柔以待。

这让我想起了在北二环附近白云观旁边流浪的一个腿脚不便的老太太。

老太太没有要钱，只是让我给她买了一堆吃的，从她口中得知，老人无儿无女，没有生育，而且腿脚不便，还装了假肢。

但是老人并不像剧中的老太太那般幸运，有一辆遮风避雨的破面包车。

时至今日，依然会义无反顾的帮助那些需要帮助的人，也希望他们遇到需要帮助的人的时候，同样伸出援助之手。

这是一部很暖很正能量，同时又有一丢丢荒诞喜剧风格的电影，佳片不宜错过！