彗星美人

  今晚刚刚看完这片子，突然发现活得单纯很幸福。电影带给我的，或许就是这般魅力，描述的故事里或多或少是现实的影子，更多的解读留给观众，有新的视角思量自己的生活。
  片子描述的故事是一个女明星从穷困潦倒到真正上位的过程。谁都知道明星红的原因无非几种，其一相貌好，背景好，少许天赋，其二就是善于包装自己，善于制造机会。用一句话形容娱乐圈，贵圈真乱。该电影通过一个完整的故事影射了这个圈子。
  eve，典型的渴望成名的女生，贫困的生活和渴望成名的欲望驱使她成为了一个追名逐利的女人，甚至为了这些不惜献上基本的人格。片子虽然在描述这个女人的故事，但是她却只是女配的存在。因为她不过是万千成名过又消失过的女明星中的一员，无限膨胀的欲望和低端的手段，自己断送了快乐，失去了朋友，换来了奖杯和灯光，用pathetic来形容最好。
  让我想到了好莱坞的巨星，琼克劳馥，与本片的女主角贝蒂戴维斯在真实的好莱坞是死对头，她和本片女主的出生一样，不知道睡过多少导演才混到一线女星的位置，演技出众，一生的婚姻数次，伴侣无数。虽是贵为巨星，但是我却并不欣赏，相对比我最爱的女神费雯丽，我觉得虽然费的生活不顺畅，但是很纯粹，爱了劳伦斯一辈子，追随他直到去世。比起机关算尽，最终获得名利，但是这个过程里其实是得不偿失吧，就像名利场的主人公一样，其实是很孤独的。
  说说本片最重要也是最幸福的人，margo。大明星的出场，有朋友，坦率，受欢迎，但是也很骄傲。但是除开这些，她是一个要强的女人。因此在她意识到eve正在逐步的靠近她，并且模仿她，试图和她竞争的时候，她的竞争意识很容易就让自己处于一个比较焦躁的位置，因此她发怒，不满，并且不希望eve和她靠的过近。当然最直接的原因还是因为男人，当margo看到eve和自己的男人有交集的时候，这些潜在的担心全都成为了发泄口。当margo意识到自己这些焦躁和真正的原因的时候，她在车里说了一句或许是我过了十多年后会感叹的话，人在向上爬的时候会舍弃很多东西，但是当我们爬到要的位置又会回过头去重新拾起那些曾经觉得不重要的。女人应该做的不过是回归家庭，每天六点做饭等mr right回家。我觉得这是一个功成名就的女人说的很真实的话，因为名利已经不值一提了，缺少的并不是物质上的，而是一份平淡和舒心，当然对于margo，能够提供这份单纯的幸福的就是她的爱情。因此，margo最后拒绝了剧本，她全身而退，就像巅峰时期的嘉宝，选择了自己所追求的安静生活。
  本片的剧本十分精良，2个多小时把整个故事和细节说得非常完整，并且台词安排也十分精细。当然选角也确实不错，margo的生气到淡然到不屑都被贝蒂戴维斯演的十分自然，仿佛本色演出，而eve的楚楚可怜到贪婪本色也演得令人厌恶。
  最后想说说一些个人无关影评对生活的看法。这年头各种新闻不断的刷新我们的世界观，但是作为一个高校的大学生，我很享受自己的学生生活，每天通过获取一些知识就能获得成就感 ，这种很简单的满足其实我很想多享受几年。看了本片，其实现在的各个圈子这种例子又何尝不存在呢？感觉不满足就是人最致命的缺点。
  比如说我自己，最近经历研究生保研或出国的选择，就发现自己考虑的东西实在很多，活得略有些累。因此我索性就放在一边不管，天天看公开课，看论文，虽然难，但是每一天都在学知识，感觉异常的充实，比起思考和做选择，实在太舒服了。
  再者就是我觉得做普通人很好，没有那么多关注，没有那么多欲望，没有那么多担忧，就为自己想做的去努力付出就好。想的美好一点，哪天真的成为了富一代，人生有的时候也不否认出现运气好转的可能嘛哈哈。

剧作分析练习



并不是所有的好莱坞叙事只会向普罗大众宣传它有些幼稚的普世价值。同样是好莱坞电影，同样是经典的叙事模式，也会有大胆先锋批判的故事，比方说这一部《彗星美人》。电影辛辣地描绘了一个野心家那令人胆战心惊的发迹史。

影片采用倒叙手法将故事通过凯伦的旁白娓娓道来，影片的开头并不是故事的开始，恰好是故事的结尾。第一个场景设在萨拉西顿戏剧的杰出成就奖颁奖仪式的会场。第一个镜头由奖杯的特写开始。由此场景剧中所有人物一一登场。故事的主题也巧妙地暗含在第一个镜头中。台上为伊娃颁奖的颁奖人不遗余力地赞扬杰出的年轻演员伊娃，台下的各个人物却各有不同的反应。颁奖人的台词也别有一番设计，看过影片的观众再次回味时候构成了巨大的反讽。借艾德生杜维特的口，将故事中的人物一一介绍，四岁便登上舞台的天才演员玛戈和因为丈夫的原因才进入戏剧圈子的凯伦。为什么会是艾德生杜维特来介绍人物呢？看过电影才知道编剧的巧妙设计。艾德生杜维特这个人物在此片中充当着“输出者”的角色，他输出的是影片的价值观。由他来告诉观众在戏剧界、光鲜的明星圈子背后的故事。带着迷人光环的奖杯和鲜花中隐藏着的不为人知的勾当和阴谋。导演要告诉我们名利背后的故事，片头巧妙地暗示出《彗星美人》一片的主题。

第七分钟，坐在会场的凯伦陷入对往昔的回忆，故事也真正开始，进入故事的第一个段落，即熙德菲尔德所说的建置环节。凯伦在玛戈化妆室的门口见到伊娃。伊娃最先是以一个玛戈的疯狂崇拜者身份出现。伊娃告诉凯伦玛戈的每一场戏她都会去看，凯伦问她戏票是否太贵，而伊娃说站票还能支付。伊娃即是回答凯伦的提问，让凯伦对其产生认同，同时这些话也是讲给观众听的。观众也对伊娃产生了认同，一个贫穷却真诚的戏剧爱好者同时也是玛戈的绝对崇拜者。这就为后来玛戈收留伊娃在自己身边这个情节变得合情合理。毕竟，这时候的伊娃是多么可爱和令人同情。
凯伦带着伊娃去见玛戈，领着伊娃经过舞台去到后台，这时编剧就开始为影片埋下“种子”，伊娃一进剧场，立刻自主地走到舞台上看着出神地看着空空的观众席。并对凯伦说“你可以闻到刺鼻的味道，如同神奇的香水般。”这个小的情节是个伏笔，十分巧妙地揭示了伊娃的内心真实想法：她向往的并不是玛戈，而是这神奇的香水般的舞台的味道。
凯伦并没有立即带伊娃见到玛戈，而是在伊娃进去之前对玛戈有所展示，未见其人先闻其声，在门外面的时候我们就听见了玛戈爽朗的大笑，从玛戈的话语中我们看到一个直率，骄傲，霸道的大明星。而凯伦一见到玛戈便与玛戈为了一个不一致的观点产生了小的摩擦。这一切都是为了后来的故事所做的铺垫。
起初玛戈不愿见伊娃，在凯伦的努力之下终于玛戈做出了转变，伊娃进到了玛戈的化妆间。如果说伊娃只是作为一个普通的观众见了自己心中梦寐以求的大明星的话故事将在此打住。是伊娃令人同情的爱情故事打动了所有的人包括观众在内从而留在了玛戈的身边使得故事继续前进。这里编剧对真相进行了省略，制造了一个假情节，观众和剧中人一道受到了伊娃的欺骗，认为她是一个失去丈夫的对爱情坚贞的可怜女人。这时候移情作用最终形成了，大家认同了伊娃。
铺垫部分交代了故事发生的背景，主要场景，主要人物的各个特点和处境，玛戈是骄傲的大明星却年纪不小了，伊娃年轻可怜对玛戈真诚地崇拜。同时也埋下了故事发展下去的种子，凯伦对玛戈的不可一世颇有意见对伊娃有着深深的同情。伊娃的真相此时被掩埋，随着故事的发展才慢慢展现。
第27分钟，玛戈送走辛普森，伊娃正式进入玛戈的生活，情节点一发生。这时候铺垫结束，进入了剧情的发展阶段。

第二阶段主情节是伊娃为了实现野心的逐步行动，副情节是玛戈的转变。
这个阶段视点悄悄地发生了改变，由客观视点逐渐变成玛戈的视点，我们同玛戈一道潜意识里开始发觉伊娃的不对劲，然而剧中其他人物并不知情。
玛戈在一次谢幕之后发现了伊娃正拿着自己刚刚脱下来的戏服在自己身上比划，并幻想自己站在舞台之上向无数的观众谢幕。这个情节是一个典型的征兆，我们隐隐约约嗅到了某种味道，对，就是野心的味道。这种预兆气氛慢慢扩散，为后面冲突的爆发做着预备工作。
如果营造预兆气氛有某种“统一性”，展现它的种种事件便有着“多样性”。之后玛戈在卧室与仆人的对话也是这多样性其中之一。仆人看似粗野却一语道出真谛：“就像她在研究你，就像在研究你的戏，做笔记，阅读你的书，研究你如何走路，讲话，吃东西，思考。”
当伊娃穿上玛戈的衣服，给辛普森打电话，等等一切之后玛戈感觉到了来自伊娃的威胁。不可抗拒的矛盾终于在玛戈和伊娃之间开始产生，伊娃代替玛戈演了一场戏，玛戈的情绪开始不受控制，由于自身性格所致开始与辛普森闹矛盾，开始与每一个人闹矛盾。
主线和副线是相互影响与纠缠的，伊娃的一步步行动使玛戈越来越情绪失控使得遭到大家的厌恶，玛戈的情绪失控使得伊娃有机会实现她朝设定好的步骤走。
可以说是玛戈的情绪失控也可以说是伊娃的计谋使得凯伦决定要惩罚玛戈帮助伊娃而设置了汽车的故障。这是故事的情节点二。
这个情节点二使得主线副线两条情节线有了新的走向，玛戈意识到自己老了，应该寻找新的生活，她在汽车上说道：“你为了爬得更快，而抛弃楼梯上的东西，忘了当你又变回女人会再需要它们。不论喜欢不喜欢，每个女人的事业都会结束。成为一个女人。”玛戈口中所说的楼梯上的东西应该是指辛普森对她的爱情，属于她自己而不是一个女明星的真实生活。明星不是长生不老的，她不能永远的活在虚幻中，总有一天要接受真实的生活。这促使了玛戈同意了辛普森的求婚，决定过另外一种生活。她放下了与伊娃之间的争斗。事实上从此刻起矛盾已经开始要消失了，准确地说玛戈与伊娃之间的矛盾消失了。因为玛戈已经看透了这一切。玛戈这个人物从开始到现在发生了人物的转变，这成为人物弧光。玛戈的人物真相此刻展现出来。而玛戈的转变无疑是和主线伊娃的行动息息相关的。情节点二完成了玛戈的转变同时也使伊娃的行动越来越强，副线结束并不意味着主线的结束，伊娃还有更高的目标等着她实现。
之所以说情节点二也推动了主线的发展。伊娃因为汽车的事情从而顺利演出，而且与影评人艾德生勾结在了一起。并且伊娃借汽车事件威胁凯伦从而得到新的角色最终拿到萨拉西顿戏剧的杰出成就奖。
艾德生在这个段落出现并且成为很重要的一个人物，他是来揭示伊娃的真相的。在伊娃演完戏卸妆的时候艾德生与她有过简短的对话。艾德生问伊娃是否在舒伯特剧院看过玛戈的戏，伊娃想都没想就回答是。这是个重要的情节，为后来艾德生揭开伊娃的秘密埋下伏笔也提供了令观众信服的证据。
伊娃威胁凯伦的情节成为故事的高潮，最终伊娃成功了，得到了她最开始所希翼的一切。但是除了这些，她的野心变本加厉，甚至试图得到凯伦的丈夫。她果真成了无所不能的恶魔。但是艾德生的出现让她终究不可能这样为所欲为，因为他是唯一了解她过去，了解她秘密的人。艾德生对伊娃的解释在故事的最后，我们终于看到了伊娃的真相。

故事本可以在此作结，但是高明的编剧在影片结尾安排了一个意味深长的人物，那就是等候在伊娃房间里的年轻女孩。这个结尾既不是封闭式结尾也不是开放式结尾，而是一个无限循环的结尾。伊娃回到房间，她已经不是原来的伊娃了，可是镜子中出现的女孩分明就是另外一个伊娃，这个年轻女孩形成了与伊娃的对应。暗示着关于名利的争夺将循环下去。而年轻女孩最后在很多面镜子前穿着伊娃的衣服拿着伊娃的奖杯幻想自己是万众瞩目的大明星时与伊娃之前的所作所为如出一辙。多面镜子映射出无数个年轻女孩的脸，暗示着无数个野心家内心的欲望。也对这样一个名利场的世界抱以嗤笑。

    

一直在想一个好故事的必备条件是什么？

他一定要有一个深刻的东西。all about eve在谈论一个特别重要的东西，西方人特别喜欢讲的，百讲不厌：innocence／天真。尤其在物欲横流的当下，（在这个故事背景中，好莱坞就是其意象）在充满着欺骗和伪善的世界里，这个东西特别珍贵，所以一再拿出来讲。

但意念本身没有力量，它要牵引着人物，领导着故事，就变得强大无比。

all about eve不是一个肤浅的[杜拉拉上位]的故事，是一个充满野心和欲望的女孩儿，在心计算尽后夺得权力的故事，它构筑着好莱坞／美国主流价值观，也预言着未来，预言着整个当下和全世界奉行的东西：这个世界的主流价值崇尚着权利名誉地位的欲望与野心，在追求成功的道路上，我们将失去最初最纯真的东西。天真、善良、正直、诚实，这些人性中最宝贵的东西。

所以编剧给我们塑造了margo、eve、karen、Lloyd、addison这样一班人，他们在这样一个名利的漩涡中，自主不自主的不端检测着自己内心的[innocence]。

不再一一分析了，尤为有趣的是如日中天的老明星margo和急于上位的年轻人eve之间形成的微妙对比。

或许当年margo也是这么攻于心计成就了今天的地位，但是现在的她尽管看起来老态／名利双收，应该是圆滑世故的人物，但是实则天真／直率，我觉得她不是不懂得掩饰，而是已经不在乎不愿意伪装，也疲于伪装了。在经历多年的明星生涯后，她不时袒露心扉：
The things you drop on your way up the ladder, so you can move faster.
You forget you'll need them again when you go back to being a woman.
 That's one career all females have in common - whether we like it or not - being a woman.
 Sooner or later we've all got to work at it, no matter what other careers we've had or wanted... and, in the last analysis, nothing is any good unless you can look up just before dinner or turns around in bed - and there he is. Without that, you're not woman. You're something with a French provincial office or a book full of clippings - but you're not a woman...
尽管这段言论很大程度上反映了女性的无力感和不安全感，反映了在这样一个男权社会里，女人的脆弱。但同时，margo呈现出特别天真，特别坦诚，也很纯粹同时脆弱的一面，我们看到一个四十岁的女人外壳下，是一个十几岁女孩儿的纯粹的内心。

相比华丽外表下依然天真的margo，eve一个天真的名字，天真的年纪，也天真的[背景故事]后面，竟是一个攻于心计的毒辣女人。这种反差很有戏剧感。

ps，整个剧看完以后有一种人性真是复杂／社会真是复杂的感觉，你不敢断然批评某一个具体的人物，却好像对人生和这个世界有了多一点点的理解，还有反思。
这就是好故事吧！


整个故事对几个女性的表现非常精彩，其中很大程度上得益于台词的俏皮／智慧与不经意的深刻，找来了剧本，供自己日后及有意者研究学习：



FADE IN:

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

It is not a large room and jammed with tables, mostly for
four but some for six and eight. A long table of honor, for
about thirty people, has been placed upon a dais.

Diner is over. Demi-tasses, cigars and brandy. The overall
effect is one of worn elegance and dogged gentility. It is
June.

The CAMERA, as it has been throughout the CREDIT TITLES, is
on the SARAH SIDDONS AWARD. It is a gold statuette, about a
foot high, of Sarah Siddons as The Tragic Muse. Exquisitely
framed in a nest of flowers, it rests on a miniature altar in
the center of the table of honor.

Over this we hear the crisp, cultured, precise VOICE of
ADDISON deWITT:

                        ADDISON'S VOICE
         The Sarah Siddons Award for
         Distinguished Achievement is
         perhaps unknown to you. It has been
         spared the sensational and
         commercial publicity that attends
         such questionable "honors" as the
         Pulitzer Prize and those awards
         presented annually by the film
         society...

The CAMERA has EASED BACK to include some of the table of
honor and a distinguished gentleman with snow-white hair who
is speaking. We do not hear what he says.

                        ADDISON'S VOICE
         The distinguished looking gentleman
         is an extremely old actor. Being an
         actor - he will go on speaking for
         some time. It is not important what
         you hear what he says.

The CAMERA EASES BACK some more, and CONTINUES until it
discloses a fairly COMPREHENSIVE SHOT of the room

                        ADDISON'S VOICE
         However it is important that you
         know where you are, and why you are
         here. This is the dining room of
         the Sarah Siddons Society.
         The occasion is its annual banquet
         and presentation of the highest
         honor our Theater knows - the Sarah
         Siddons Award for Distinguished
         Achievement.

A GROUP OF WAITERS are clustered near the screen masking the
entrances of the kitchen. The screens are papered with old
theatrical programs. The waiters are all aged and venerable.
They look respectfully toward the speaker.

                        ADDISON'S VOICE
         These hollowed walls, indeed many
         of these faces, have looked upon
         Modjeska, Ada Rehan and Minnie
         Fiske; Mansfield's voice filled the
         room, Booth breathed this air. It
         is unlikely that the windows have
         been opened since his death.

CLOSE - THE AWARD on its altar, it shines proudly above five
or six smaller altars which surround it and which are now
empty.

                        ADDISON'S VOICE
         The minor awards, as you can see,
         have already been presented. Minor
         awards are for such as the writer
         and director - since their function
         is merely to construct a tower so
         that the world can applaud a light
         which flashes on top of it and no
         brighter light has ever dazzled the
         eye than Eve Harrington. Eve... but
         more of Eve, later. All about Eve,
         in fact.

THE CAMERA MOVES TO: CLOSE - ADDISON deWITT, not young, not
unattractive, a fastidious dresser, sharp of eye and
merciless of tongue. An omnipresent cigarette holder projects
from his mouth like the sward of D'Artagnan.

He sits back in his chair, musingly, his fingers making
little cannonballs out of bread crumbs. His narration covers
the MOVE of the CAMERA to him:

                        ADDISON'S VOICE
         To those of you who do not read,
         attend the Theater, listen to
         uncensored radio programs or know
         anything of the world in which we
         live - it is perhaps necessary to
         introduce myself. My name is
         Addison deWitt.
         My native habitat is the Theater -
         in it I toil not, neither do I
         spin. I am a critic and
         commentator. I am essential to the
         Theater - as ants are to a picnic,
         as the ball weevil to a cotton
         field...

He looks to his left. KAREN RICHARDS is lovely and thirtyish
in an unprofessional way. She is scraping bread crumbs,
spilled sugar, etc., into a pile with a spoon. Addison takes
one of her bread crumbs. She smiles absently. Addison rolls
the bread crumb into a cannonball.

                        ADDISON'S VOICE
         This is Karen Richards. She is the
         wife of a playwright, therefore of
         the Theater by marriage. Nothing in
         her background or breeding should
         have brought her any closer the
         stage than row E, center...

Karen continues her doodling.

                        ADDISON'S VOICE
         ... however, during her senior year
         in Radcliffe, Lloyd Richards
         lectured on drama. The following
         year Karen became Mrs. Lloyd
         Richards. Lloyd is the author of
         'Footsteps on the Ceiling' - the
         play which has won for Eve
         Harrington the Sarah Siddons
         Award...

Karen absently pats the top of her little pile of refuse. A
hand reaches in to take the spoon away. Karen looks as the
CAMERA PANS with IT to MAX FABIAN. He sits at her left. He's
a sad-faced man with glasses and a look of constant
apprehension. He smiles apologetically and indicated a white
powder with he unwraps. He pantomimes that his ulcer is
snapping.

Karen smiles back, returns to her doodling. Addison mashes a
cigarette stub, pops it out of his holder. He eyes Max.

                        ADDISON'S VOICE
         There are two types of theatrical
         producers. One has a great many
         wealthy friends who will risk a tax
         deductible loss. This type is
         interested in Art.

Max drops the powder into some water, stirs it, drinks, burps
delicately and close his eyes.

                        ADDISON'S VOICE
         The other is one to whom each
         production mean potential ruin or
         fortune. This type is out to make a
         buck. Meet Max Fabian. He is the
         producer of the play which has won
         Eve Harrington the Sarah Siddons
         Award...

Max rests fitfully. He twitches. A hand reaches into the
SCENE, removes a bottle of Scotch from before him. The CAMERA
follows the bottle to MARGO CHANNING. She sits at Max's left,
at deWitt's right. An attractive, strong face. She is
childish, adult, reasonable, unreasonable - usually one when
she should be the other, but always positive. She pours a
stiff drink.

Addison hold out the soda bottle to her. She looks at it, and
at him, as if it were a tarantula and he had gone mad. He
smiles and pours a glass of soda for himself.

                        ADDISON'S VOICE
         Margo Channing is the Star of the
         Theater. She made her first stage
         appearance, at the age of four, in
         'Midsummer Night's Dream'. She
         played a fairy and entered - quite
         unexpectedly - stark naked. She has
         been a Star ever since.

Margo sloshes her drink around moodily, pulls at it.

                        ADDISON'S VOICE
         Margo is a great Star. A true Star.
         She never was or will be anything
         less or anything less...
                (slight pause)
         ... the part for which Eve
         Harrington is receiving the Sarah
         Siddons Award was intended
         originally for Margo Channing...

Addison, having sipped his soda water, puts a new cigarette
in his holder, leans back, lights it, looks and exhales in
the general direction of the table of honor. As he speaks the
CAMERA MOVES in the direction of his glance...

                        ADDISON'S VOICE
         Having covered in tedious detail
         not only the history of the Sarah
         Siddons Society, but also the
         history of acting since Thespis
         first stepped out of the chorus
         line - our distinguished chairman
         has finally arrived at our reason
         for being here...

At this point Addison's voice FADES OUT and the voice of the
aged actor FADES IN. CAMERA is in MEDIUM CLOSE SHOT of him
and the podium.

                        AGED ACTOR
         I have been proud and privileged to
         have spent my life in the Theater -
         "a poor player ... that struts and
         frets his hour upon the stage" -
         and I have been honored to be, for
         forty years, Chief Promoter of the
         Sarah Siddons Society...
                (he lifts the Sarah
                 Siddons Award from its
                 altar)
         Thirty-nine times have I placed in
         deserving hands this highest honor
         the Theater knows...
                (he grows a bit arch, he
                 uses his eyebrows)
         Surely no actor is older than I - I
         have earned my place out of the
         sun...
                (indulgent laughter)
         ... and never before has this Award
         gone to anyone younger than its
         recipient tonight. How fitting that
         it should pass from my hands to
         hers...

EVE HANDS: Lovely, beautifully groomed. In serene repose,
they rest between a demi-tasse cup and an exquisite small
evening cup.

                        AGED ACTOR
         Such young hands. Such a young
         lady. Young in years, but whose
         heart is as old as the Theater...

Addison's eyes narrow quizzically as he listens. Then,
slowly, he turns to look at Karen...

                        AGED ACTOR
         Some of us a privileged to know
         her. We have seen beyond the beauty
         and artistry-

Karen never ceases her thoughtful pat-a-cake with the crumbs.

                        AGED ACTOR
         -that have made her name resound
         through the nation. We know her
         humility. Her devotion, her loyalty
         to her art.

Addison's glance moves from Karen to Margo.

                        AGED ACTOR
         Her love, her deep and abiding love
         for us-

Margo's face is a mask. She looks down at the drink which she
cradles with both hands.

                        AGED ACTOR
         -for what we are and what we do.
         The Theater. She has had one wish,
         one prayer, one dream. To belong to
         us.
                (he's nearing his curtain
                 line)
         Tonight her dream has come true.
         And henceforth we shall dream the
         same of her.
                (a slight pause)
         Honored members, ladies and
         gentlemen - for distinguished
         achievement in the Theater - the
         Sarah Siddons Award to Miss Eve
         Harrington.

The entire room is galvanized into sudden and tumultuous
applause. Some enthusiastic gentlemen rise to her feet...
Flash bulbs start popping about halfway down the table of the
Aged Actor's left...

Eve rises - beautiful, radiant, poised, exquisitely gowned.
She stands in simple and dignified response to the ovation.

A dozen photographers skip, squat, and dart about like water
bugs. Flash bulbs pop and pop and pop...

THE WAITERS applaud enthusiastically...

AGED ACTOR, Award in hand, he beams at her...

EVE smiles sweetly to her left, then to her right...

MAX has come to. He applauds lustily.

ADDISON's applauding too, more discreetly.

MARGO, not applauding. But you sense no deliberate slight,
merely an impression that as she looks at Eve her mind is on something else...

KAREN, nor is she applauding. But her gaze is similarly fixed
on Eve in a strange, faraway fashion.

ADDISON, still applauding, his eyes flash first at Margo and
then at Karen. Then he directs them back to Eve. He smiles
ever so slightly.

The applause has continued unabated. EVE turns now, and moves
gracefully toward the Aged Actor. She moves through
applauding ladies and gentlemen; from below the flash bulbs
keep popping...

As she nears her goal, the Ages Actor turns to her. He holds
out the award. Her hand reaches out for it. At that precise
moment - with the award just beyond her fingertips - THE
PICTURE HOLDS, THE ACTION STOPS. The SOUND STOPS.

                        ADDISON'S VOICE
         Eve. Eve, the Golden Girl. The
         cover girl, the girl next door, the
         girl on the moon... Time has been
         good to Eve, Life goes where she
         goes - she's been profiled,
         covered, revealed, reported, what
         she eats and when and where, whom
         she knows and where she was and
         when and where she's going...

ADDISON has stopped applauding, he's sitting forward, staring
intently at Eve... his narration continues unbroken.

                        ADDISON'S VOICE
         ... Eve. You all know all about
         Eve... what can there be to know
         that you don't know...?

As he leans back, the APPLAUSE FADES IN as tumultuous as
before. Addison's look moves slowly from Eve to Karen.

KAREN, she leans forward now, her eyes intently on Eve. Her
lovely face FILLS THE SCREEN as the APPLAUSE FADES ONCE MORE -
as she thinks back:

                        KAREN'S VOICE
         When was it? How long? It seems a
         lifetime ago. Lloyd always said
         that in the Theater a lifetime was
         a season, and a season a lifetime.
         It's June now. That was - early
         October... only last October. It
         was a drizzly night, I remember I
         asked the taxi to wait...

                                                        DISSOLVE TO:

EXT. NEW YORK THEATER STREET - NIGHT

Traffic is not heavy, the shows have broken some half-hour
before. The rain is just a drizzle.

There are other theaters on the street; display lights are
being extinguished. Going out just as Karen's taxi pulls up
is: MARGO CHANNING in 'AGED IN WOOD'. The marquis display
below includes "Max Fabian Presents" and "By Lloyd Richards."

The taxi comes to a stop at the alley. Karen can be seen
through the closed windows telling the driver to wait. Then
she gets out. She takes a step, hesitates, then looks about
curiously:

                        KAREN'S VOICE
         Where was she? Strange... I had
         become so accustomed to seeing her
         there night after night - I found
         myself looking for a girl I'd never
         spoken to, wondering where she
         was...

She smiles a little at her own romanticism, puts her head
down and makes her way into the alley.

EXT. ALLEY - CURRAN THEATER - NIGHT

Karen moves toward the stage door. She passes a recess in the
wall - perhaps an exit - about halfway.

                        EVE'S VOICE
                (softly)
         Mrs. Richards...

Karen hesitates, looks. Eve is barely distinguishable in the
shadow of the recess. Karen smiles, waits. Eve comes out. A
gooseneck light above them reveals her...

She wears a cheap trench coat, low-heeled shoes, a rain hat
stuck on the back of her head... Her large, luminous eyes
seem to glow up at Karen in the strange half-light.

                        KAREN
         So there you are. It seemed odd,
         suddenly, your not being there...

                        EVE
         Why should you think I wouldn't be?

                        KAREN
         Why should you be? After all, six
         nights a week - for weeks - of
         watching even Margo Channing enter
         and leave a theater-

                        EVE
         I hope you don't mind my speaking
         to you...

                        KAREN
         Not at all.

                        EVE
         I've seen you so often - it took
         every bit of courage I could raise-

                        KAREN
                (smiles)
         To speak to just a playwright's
         wife? I'm the lowest form of
         celebrity...

                        EVE
         You're Margo Channing's best
         friend. You and your husband are
         always with her - and Mr.
         Sampson... what's he like?

                        KAREN
                (grins)
         Bill Sampson? He's - he's a
         director.

                        EVE
         He's the best.

                        KAREN
         He'll agree with you. Tell me, what
         do you between the time Margo goes
         in and comes out? Just huddle in
         that doorway and wait?

                        EVE
         Oh, no. I see the play.

                        KAREN
                (incredulous)
         You see the play? You've seen the
         play every performance?
                (Eve nods)
         But, don't you find it - I mean
         apart from everything else - don't
         you find it expensive?

                        EVE
         Standing room doesn't cost much. I
         manage.

Karen contemplates Eve. Then she takes her arm.

                        KAREN
         I'm going to take you to Margo...

                        EVE
                (hanging back)
         Oh, no...

                        KAREN
         She's got to meet you-

                        EVE
         No, I'd be imposing on her, I'd be
         just another tongue-tied gushing
         fan...

Karen practically propels her toward the stage door.

                        KAREN
                (insisting)
         There isn't another like you, there
         couldn't be-

                        EVE
         But if I'd known... maybe some
         other time... I mean, looking like
         this.

                        KAREN
         You look just fine...
                (they're at the stage
                 door)
         ... by the way. What's your name?

                        EVE
         Eve. Eve Harrington.

Karen opens the door. They go in.

INT. BACKSTAGE - CURRAN THEATER - NIGHT

Everything, including the doorman, looks fireproof.

Eve enters like a novitiate's first visit to the Vatican.
Karen, with a "Good evening, Gus -" to the doorman, leads the
way toward Margo's stage dressing room. Eve, drinking in the
wonderment of all the surveys, lags behind. Karen waits for
her to catch up...

                        EVE
         You can breathe it - can't you?
         Like some magic perfume...

Karen smiles, takes Eve's arm. They proceed to Margo's
dressing room.

EXT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT

No star on the closed door; the paint is peeling. A type
written chit, thumbtacked, says MISS CHANNING.

As Karen and Eve approach it, an uninhibited guffaw from
Margo makes them pause.

                        KAREN
                (whispers)
         You wait a minute...
                (smiles)
         ... now don't run away-

Eve smiles shakily. At the same moment:

                        MARGO'S VOICE
                (loudly; through the door)
         "Honey chile," I said, "if the
         South had won the war, you could
         write the same plays about the
         North!"

Karen enters during the line.

INT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT

It is a medium-sized box, lined with hot water pipes and
cracked plaster. It is furnished in beat-up wicker. A door
leads to an old-fashioned bathroom.

Margo is at the dressing table. She wears an old wrapper, her
hair drawn back tightly to fit under the wig which lies
before her like a dead poodle. Also before her is an almost
finished drink.

LLOYD RICHARDS is stretched out on the wicker chaise. He's in
his late thirties, sensitive, literate.

Between them, by the dressing table, is BIRDIE - Margo's
maid. Her age is unimportant. She was conceived during a
split week in Walla Walla and born in a carnival riot. She is
fiercely loyal to Margo.

Karen enters during the line Margo started while she was
outside. Lloyd chuckles, Birdie cackles.

                        KAREN
         Hi.
                (she goes to kiss Lloyd)
         Hello, darling-

                        MARGO
         Hi.
                (she goes right on - in a
                 think "Suth'n" accent)
         "Well, now Mis' Channin', ah don't
         think you can rightly say we lost
         the wah, we was mo' stahved out,
         you might say - an' that's what ah
         don' unnerstand about all these
         plays about love-stahved Suth'n
         women - love is one thing we was
         nevah stahved for the South!"

                        LLOYD
         How was the concert?

                        KAREN
         Loud.

                        BIRDIE
         Lemme fix you a drink.

                        KAREN
         No thanks, Birdie.

Karen laughs with them.

                        LLOYD
         Margo's interview with a lady
         reporter from the South-

                        BIRDIE
         The minute it gets printed they're
         gonna fire on Gettysburg all over
         again...

                        MARGO
         It was Fort Sumter they fired on-

                        BIRDIE
         I never played Fort Sumter.

She takes the wig into the bathroom. Margo starts creaming
the make-up off her face.

                        MARGO
         Honey chili had a point. You know,
         I can remember plays about women -
         even from the South - where it
         never even occurred to them whether
         they wanted to marry their fathers
         more than their brothers...

                        LLOYD
         That was way back...

                        MARGO
         Within your time, buster. Lloyd,
         honey, be a playwright with guts.
         Write me one about a nice, normal
         woman who shoots her husband.

Birdie comes out of the bathroom without the wig.

                        BIRDIE
         You need new girdles.

                        MARGO
         Buy some.

                        BIRDIE
         The same size?

                        MARGO
         Of course!

                        BIRDIE
         Well. I guess a real tight girdle
         help when you're playin' a lunatic.

She picks up Lloud empty glass, asks "more"? He shakes his
head. She pours herself a quick one.

                        KAREN
                (firmly)
         Margo does not play a lunatic,
         Birdie.

                        BIRDIE
         I know. She just keeps hearin' her
         dead father play the banjo.

                        MARGO
         It's the tight girdle that does it.

                        KAREN
         I find these wisecracks
         increasingly less funny! 'Aged in
         Wood' happens to be a fine and
         distinguished play-

                        LLOYD
         - 'at's my loyal little woman.

                        KAREN
         The critics thought so, the
         audiences certainly think so -
         packed houses, tickets for months
         in advance - I can't see that
         either of Lloyd's last two plays
         have hurt you any!

                        LLOYD
         Easy, now...

                        MARGO
                (grins)
         Relax, kid. It's only me and my big
         mouth...

                        KAREN
                (mollified)
         It's just that you get me so mad
         sometimes... of all the women in
         the world with nothing to complain
         about-

                        MARGO
                (dryly)
         Ain't it the truth?

                        KAREN
         Yes, it is! You're talented,
         famous, wealthy - people waiting
         around night after night just to
         see you, even in the wind and
         rain...

                        MARGO
         Autograph fiends! They're not
         people - those little beast who run
         in packs like coyotes-

                        KAREN
         They're your fans, your audience-

                        MARGO
         They're nobody's fans! They're
         juvenile delinquents, mental
         detectives, they're nobody's
         audience, they never see a play or
         a movie, even - they're never
         indoors long enough!

There is a pause. Lloyd applauds lightly.

                        KAREN
         Well... there's one indoors now.
         I've brought her back to see you.

                        MARGO
         You've what?

                        KAREN
                (in a whisper)
         She's just outside the door.

                        MARGO
                (to Birdie; also a
                 whisper)
         The heave-ho.

Birdie starts. Karen stops her. It's all in whisper, now,
until Eve comes in.

                        KAREN
         You can't put her out, I
         promised... Margo, you've got to
         see her, she worships you, it's
         like something out of a book-

                        LLOYD
         That book is out of print, Karen,
         those days are gone.
         Fans no longer pull the carriage
         through the streets - they tear off
         clothes and steal wrist watches...

                        KAREN
         If you'd only see her, you're her
         whole life - you must have spotted
         her by now, she's always there...

                        MARGO
         Kind of mousy trench coat and funny
         hat?
                (Karen nods)
         How could I miss her? Every night
         and matinee - well...

She looks to Birdie.

                        BIRDIE
         Once George Jessel played my
         hometown. For a girl, gettin' in to
         see him was easy. Gettin' out was
         the problem...

They all laugh. Karen goes to the door, opens it. Eve comes
in. Karen closes the door behind her. A moment.

                        EVE
                (simply)
         I thought you'd forgotten about me.

                        KAREN
         Not at all.
                (her arm through Eve's)
         Margo, this is Eve Harrington.

Margo changes swiftly into a first-lady-of-the-theater
manner.

                        MARGO
                (musically)
         How do you do, my dear.

                        BIRDIE
                (mutters)
         Oh, brother.

                        EVE
         Hello, Miss Channing.

                        KAREN
         My husband...

                        LLOYD
                (nicely)
         Hello, Miss Harrington.

                        EVE
         How do you do, Mr. Richards.

                        MARGO
                (graciously)
         And this is my good friend and
         companion, Miss Birdie Coonan.

                        BIRDIE
         Oh, brother.

                        MARGO
         Miss Coonan...

                        LLOYD
                (to Birdie)
         Oh brother what?

                        BIRDIE
         When she gets like this... all of a
         sudden she's playin' Hamlet's
         mother...

                        MARGO
                (quiet menace)
         I'm sure you must have things to do
         in the bathroom, Birdie dear.

                        BIRDIE
         If I haven't, I'll find something
         till you're normal.

She goes into the bathroom.

                 &

我叫伊芙，你问我有什么梦想，我的梦想就是表演，登上百老汇的舞台，然后去好莱坞。我有什么故事？当然了，每一个站在舞台的人都有一段悲惨的经历，来自农村，父亲早逝，丈夫在战争中牺牲，一个人来到一半天堂一半地狱的纽约闯荡。

对，我是崇拜她，她是百老汇的角儿，独领风骚，可是她都四十岁了啊，这个舞台也需要一点新鲜血液了。我想办法接近她，我做了她的跟班，我模仿她，我学习她，我研究她，终于她在我的身上看到了威胁，看到了自己的渐渐老去的容颜，她开始对我产生防备，不过装无辜是我的强项。

剧院要找一个她的替身，以备万一，还有比我更合适这个角色的么？我要出名，我要火，我通过她的朋友争取到了这个机会。演出很成功，我已经成功了一半了。

她的男朋友比她小八岁，我试着去勾兑一下好了，他居然经得起诱惑，好男人赞一个，不过你是傻逼啊。那得换一个靠山才行，影评人艾德森，恩，文章的影响力举足轻重，就他了，可以当枪使。

她朋友的男人是个著名的剧作家，不如和他搞搞暧昧，悄悄透露给艾德森，搞个大新闻。

你们肯定看出来了，我是个十足的心机Girl，没错，我的身世也是假的，我根本没有结过婚，但是，我都是为了我的梦想，我有错吗？

总而言之，通过一些小手段，我得到了一个全新的角色，大获成功，获得了戏剧界的最高奖——沙拉奖。马上就要迎娶高富帅走上人生巅峰了。

你们肯定要骂我是不要脸的婊子了，可是我也是有真本事的啊，绣花枕头还能火？我不过是使了点手段走了点捷径罢了。人不为己天地诛啊，我空有一身才华，无人欣赏岂不可悲？我为自己的行为感到骄傲。

那么今天的辩题来了，伊芙女士这样踩着别人上位的行为是值得骄傲的吗？

补充一点：这部电影名叫<All About Eve>直译《关于伊芙的一切》意译《彗星美人》，结合片尾出现了一个心机Girl2.0想要对伊芙取而代之，象征着她耀眼却又短暂的艺术人生，有道是：江山代有才女出，各领风骚四五年。

我无话可说。
有一类人，还真的是，如这电影里所说的，“把一生都献给了表演事业。”果真如此，每天生活得都特别dramatic，说的话做的事，没一个是真心真意的，而且还expect people to believe them。关键是，好多人还真的全都上套。
比如说片子里这个心机凤凰女，各种手段啊，怎么这么像我生活中认识的一个女生呢，平时假装楚楚可怜、性格完美、体贴大方，然后各种勾搭男人，以借男人上位。在这里心机女是借成功男人来夺得出名的机会，在生活中，我认识的心机女是言语间勾搭有钱男人，甚至身体力行，来跟男人要钱——她自己当然也不是穷得可以。种种手段，各种谎言，我都不想再说了。
就可怜那个女明星，性格本身就火爆坦白，总让人觉得她是在刷大牌、常有理，以至于出了什么差错，大家都倾向于觉得是她无理取闹、歇斯底里。倒是那个心机凤凰女，一直装得温柔善良、任劳任怨、楚楚可怜⋯⋯其实，好多男人们大概都不知道，女生在不大喜欢你、没有变成你女朋友或者太太的时候，一般都是采取后者的策略，夸赞你、包容你。你说你每天都要玩得很迟才回来？没关系，我也有我的生活。你在大街上看别的女生？没关系，男生么，就是这样子的。可是一旦女生们做了你的女朋友或妻子，就没那么拿得起放得下了，她关心你，所以会因为你语调的一点点变化而敏感不已；她爱你，所以接受不了你的各种借口和推脱；她顾及你，才会对你的各种错误大加指责。女人，总是为自己爱的人才会大吼大叫歇斯底里，好似不顾脸面的泼妇一般。只有那不爱你却觊觎着你的好处的女人（或是贪图你的钱财，或是欲借你权力名气上位，或是想更多男人拜倒在她石榴裙下以体现她女王的气质，或是要拿你当作前年备胎），才会对你百依百顺、万般容忍、心胸宽广，才会每天赞美你夸你，假装说体己话之类之类的。
可是偏偏呢，好多男人就是喜欢那个装腔作势的、其实不太喜欢你的女人多一点。
愿者上钩，这让我们这些人有什么话好说呢。就好像我认识的那个心机女，多少女人（还有一些男人）都看出她的假模假样来了，可一个平时挺聪明伶俐的男生，却被她的几句花言巧语就冲昏了头脑，任凭我们这些人怎么旁敲侧击，或者直言相劝，都不听，还一味地当这个女生是大好人，净被我们这些黑心肠的给欺负了。
倒是一些好女人，例如片子里凯伦这样的，还有女明星这样的，倒是被生生欺负了。别跟我说，凯伦他丈夫这样的男人，这么轻易地就被蛊惑了，本来就不值得她倾心，放了也好。那世上多少的男人都可以被这么放了。心机女小三都是这么上位的：在男人的女友或妻子发觉事态不对而花容失色时，她倒显得特无辜特可怜，对男人的境遇又非常同情理解和支持。自然，男人会向着小三说话，觉得自己的女友／妻子在无理取闹、大发醋意、毫无女人味，倒觉得小三十分具有做贤妻良母的优良品质，是他的知己。这样，女友／妻子当然就处于弱势地位。
这些心机女，地球人已经治不了她们了。
我就实在不能理解这些恐怖心机装a女，是什么力量支撑着让她们能够一句真话都不说，永远不显露自己真实的一面。她们怎么忍受下来的？就像我认识的那个女生，可以同人讲一天的话，而10句里有9句全部都是假的（证据确凿），而且假得漫无边际，剩下的一句还是因为没有证据所以暂且相信它是真的。这样高强度的谎言，究竟是什么样的脑瓜，才能完美地manipulate好啊。难道她们都有强迫说谎的另一型人格么？真应该请心理学家好好研究一下这些人的大脑都是由何构成的。
女人竟然有些时候都会被这种人骗。比如女明星，比如凯伦，一开始都是受害者。不过女人到底是心机多点，不像男人（有男生对我说，男人只有两种类型，靠谱的，和龟头指挥大脑的）。最后心机女是得奖了出名了，可是圈内哪个女人不知道此人是凭借什么上位的呢？只是不点破而已吧，当面上都是对她笑吟吟的，其实没一个亲切的。倒是那些个男人，任这些女人怎么暗示都不信，还对着心机女嬉皮笑脸。可是，对这些心机人士来说，可能女性的朋友本就没那么重要吧。有男人垂青，她们就可以上位、敛财，没有女性朋友帮忙扶持，她们照样有场子。再看我认识的那个心机女，同届的这么多中国女生，几乎是没有一个搭理她的，个个都看透了她的恶心嘴脸，可是她就凭借着搭理她的男人们，月入鲜衣几十件、上百件，手持男人们给她买的iphone、ipad、新电脑，各种用品都可以由男人的车来回载运，若她真的像我前面说的，可以完全没有顾及地说谎，也永不想透露自己真实的一面地话，她还需要朋友做什么？
电影还是给人以积极向上的感觉的。心机女虽然有心机，但是永远不懂得爱情。女明星虽然被篡位，但是正好顺势退出，见好就收，回家安心相夫教子，享受爱情生活。这大概也是心机女们的悲哀吧，一辈子追名逐利而不晓得爱人的滋味，也够悲惨的。但是我看着悲哀的是，女明星最后其实就是选择退让了——你既然这么想要成为明星，好啊，我不干了，我让给你。然后她才能够平平和和地面对自己的男人，省得为了争夺角色大吵大闹，让男人招架不住。可是，如果她真的想要继续舞台生涯又如何呢？如此拱手让人，不是正让心机女得逞了么？
所幸就是女明星的男友比利，是靠谱男中的一员，虽然之前也被心机女的“善良”蒙骗过，但是从来没有变心，最后还是站在了女明星的一边，没有倒戈。
我向这样的男人致敬。
其实这个电影讲的是野心的问题，却被我发挥，变成什么男人女人的事了。真是，人家电影挺深刻的，让我这种粗鄙的人一评，就变得肤浅了。真的是像电影中女明星说的，“我品味不高⋯⋯”
另外，电影里女明星的另一句话更让我印象深刻，不管你做明星还是什么，不管是多成功的人士，有一天，女人都会重新做成女人这个角色，投入全身心去爱自己爱的人。这个角色，有时候，比其他任何角色都重要、都幸福。我觉得这其实才是女人的本性。也是社会之所以还很男权的重要原因。
但是，这毕竟是女人的悲哀但是幸福的本性啊。

 经典影片总是历久弥新。
《彗星美人》（All about Eve）就是这样一部不分国界突破时代常看常新的好电影。
我想，放到今天，这部片子一定会有很多更贴切的中文名翻译，比如，八个月名角速成记；再如，站在男编剧肩膀上的女明星；又如，一个绿茶婊的成功上位史。
婊姐Eve出现在Margo生活里的时候，Margo已经是戏剧界炙手可热的明星。Eve是那样楚楚可怜，她编造了一个激发起女性同情心的好理由说服了Margo的好友——戏剧作家老婆Karen，也说服了Margo，从此迈上了上位的第一步——成为名角身边的小跟班。Eve是那样的聪明勤奋与能干，她时刻不忘模仿Margo的举止，偷偷试穿Margo的衣服，恨不能代替Margo做一切，甚至诱惑Margo的男友Bill（幸好失败了）。难道Eve会止步于做替身吗？当然不。她等到了机会，在她精心设计（以及被诱惑了的Karen老公的帮助）下，Eve终于顶替Margo成了某戏的女主角，从此，迈上了星光大道，一路星运亨通。最终仅仅八个月的时间，她就获得了一个重量级的戏剧杰出成就奖。
如何？这一切听上去是不是非常熟悉？
一个邻家女孩般的人物，一个封面女郎，如月上嫦娥，好运常随，因为各种报道，我们知道关于Eve的一切。我们看见的她兢兢业业不辞劳苦；我们看见的她彬彬有礼笑容得体。碰到这样的弱女子，一旦被攻击，观众就保护欲爆棚：别低头，皇冠会掉；别流泪，贱人会笑；我们最爱你了么么哒！让我来保护你么么哒！所有批评你的都是不懂你的么么哒！
这几天，因为三生三世定档、小时代4上映，唐七与大风之间的抄袭公案，郭敬明的抄袭史一再成为讨论热点。看作者的声明与围观者的评论都非常有趣。虽然我国经常出现证明我妈是我妈这种脑残事件，但在版权领域似乎从来不存在这样的问题。我们看到受害者（受害者的支持者）不断地拿出证据来证明自己被抄袭，而被指控抄袭的一方或其守护者从来都是绕道而行。你跟他谈抄袭，他跟你说模仿，你跟他摆字句，他跟你讲文风，你跟他说情节，他跟你道致敬。再然后，他掌握了话语权，他侃侃而谈，关于理想、关于情谊、关于中国梦，唯独对抄袭证据视若无睹避而不谈。杂志访谈、媒体运作、利益相关，再没有人能阻止他，绿茶婊终于成为了绽放的白莲花。
《彗星美人》的第一幕，Eve站在了人生的巅峰领取奖项。Margo的不屑、Karen的懊悔、Addison的意味深长都无法改变Eve的成功。而影片的最后，出现了另一个女孩，我们看见她来到Eve身边，穿上Eve的衣服，模仿Eve。
我猜，电影是想告诉我们：人类已经无法战胜白莲花了，这从来都是物种内部的战争。
哎，多么痛的领悟。