非强力春药

生活就是这么不可置信 悲哀 讽刺 奇妙。希腊戏剧的表演一直贯穿整个影片，算是每个环节的转折提醒。琳达个傻大妞，虽然一路跌跌撞撞但是却一直拥有对生活的期待，俗话说傻人有傻福她应该完美验证了这个老话了。伍迪艾伦一贯的风格，但是这个真是少见的喜剧，伍迪艾伦就是这样 话唠 絮絮叨叨 神经质 讽刺 意外 运气 无厘头 一个普普通通的小故事所有的想法都有条有理 承上启下的转折 没有突兀 属于他的幽默给要孩子时 给孩子起名字时 和琳达了解家庭时 ……刚开始我还不适应他的风格 也看不出他哪里好 久了 就明白 一个好的导演一定是一个会讲故事的人 而伍迪艾伦就是一个会讲故事的人而且还会附加许多彩蛋。（为什么分数不太高啊）

看完后不禁感概伍迪艾伦的才华，利用古雅典与现实联系起来，好让伍迪艾伦可以随便从中以一个不那么突兀的形式表达自己的思想（好在他全篇都用了，不然我们这些自以为自己聪明的观众可能真不是太懂），这片非常的伍迪艾伦，随时中断影片，突然跳出来和你讲话，从中表达他的思想，不过是另一种形式罢了。文中妓女的品质非常天真淳朴（和安妮霍尔一个样），自行在电影中体会，不过多赘述。文中也探讨了中年时的婚姻危机和两性关系，（伍迪艾伦真的很喜欢写这种题材），类似电影还有诸如解构爱情狂，曼哈顿杀人疑案，开罗紫玫瑰。片中还是拥有对道德，性的调侃，伍迪很敢解剖自己，比如曼哈顿杀人疑案中的幽闭恐惧症，一直保持批判性以及讽刺性,在解构爱情狂中对犹太的讽刺，对社会的讽刺（以前开除自己的学校居然要授予ta学位），而在这部非强力春药中妓女从良但却遭受重重阻力，黑帮的逼迫事实上妓女的选择有时候是身不由己，很多事情不是一个人想解决就能解决的。借用解构爱情狂的结尾与开罗紫玫瑰的结尾，生活往往是不完美的。而艺术则帮助我们，我们可以从中尽情构建一个属于自己的世界，但有没有意义，就仁者见仁智者见智了。生活破败，但你可以通过艺术，创造人物来讲自我从苦痛里抽离出来（就是不会那么痛了），艺术来源于生活但又高于生活，他有没有意义谁都不知道，并没有标准答案。伍迪艾伦不仅讽刺外界，对自己也是毫无怜惜，冷漠地以旁观者的视角讽刺自己作为一个中产阶级的生活（所谓的知识分子），满嘴胡话，说一堆别人听不懂的词语，胡乱组砌，但表达得非常流畅，没有了解过这方面的人一般都是看不出来的（西力传）；不断地逃避自己的责任，以自我为中心（安妮霍尔）

本片的结局极其戏剧化，有一种非常规关系下的温情之感，夹带命运的玄妙感。如果把这样一段关系放到现代社会中，肯定会被骂的狗血淋头。

其实，伍迪·艾伦的很多作品都无法用常规的道德标准来评价。包括他本人亦是如此，充满争议，2018年，他被养女迪兰·法罗控诉7岁时对其性侵和虐待。

曾经和他合作过的演员纷纷站队，表明了自己的立场。面对性侵的指控，伍迪·艾伦坚决否认，经过警察长时间的调查，最后的结果表示，并没有明确的证据显示伍迪实施过性侵，因此撤销了指控。

但由于如今他妻子的身份，还是不免让人怀疑。伍迪艾伦现在的妻子宋宜，就是他的养女之一。宋宜来自韩国，9岁被收为养女，她和伍迪艾伦相差35岁。

虽然之前两人的恋情就被伍迪艾伦前妻指责，但他还是和养女结婚了。两人的婚姻虽然不违反任何法律，但多少也会遭遇来自现实的白眼。伍迪艾伦本人被指控性侵后，也面临无演员可用的尴尬境地。

可以说，从伍迪艾伦本人的婚姻、爱情到他的作品，都可以用一句“抓马”来形容，也无法用普通的道德标准来评价。真·电影照进现实。

The habitus of Woody Allen’s MIGHTY APHRODITE couldn’t be more unsavory in the light of the current political and cultural ethos and the alleged accusation in which he is personally enmeshed, roughly taking its cue from PYGMALION, its story goes like this, after Lenny Weinrib (Allen), a middle-aged sportswriter, has found out that the biological mother of his adopted son Max (McQuaid), who is endowed with a higher IQ, is a bimbo prostitute and part-time porn star named Linda Ash (Sorvino), he tries every which way to persuade her to give up her profession and get settled down with an ideal man who loves her.

But Lenny’s action is anything but altruistic, he has his own face to save in case in future Max might want to know the truth of his parentage, a hairdresser of happy domesticity is what he aims for, although most of the fun derives from Lenny’s unresolved discombobulation about the genetic pedigree of Max’s genius, and gauging by Linda’s divulgence, the child might very likely be a “bad seed”, anyway, that is an excursus.

If Allen is often faulted for delusions of grandeur in his lesser works, MIGHT APHRODITE is guilty as charged, mostly for Lenny’s paternalistic attitude of playing God to save a ditzy sinful soul of the opposite sex, not to mention chiefly for his own sake, but courtesy to a corn-fed Sorvino’s zippy, down-to-earth unrestrainedness (an Oscar winner!, the Academy surely adores the stereotype of a call girl with a golden heart), Linda freshens up most comically and sympathetically for her unalloyed openness and genuineness in spite of being physically compromised in the morass of moral depravity, if Max does inherit any “good genes”, we can assure that is where they come from. In that regard, Allen’s homage to a woman’s incorruptible purity of immanent goodness is condescending, yes, but also amusingly touching.

Helena Bonham Carter, who plays Lenny’s two-timing curator wife Amanda, fares less agreeable in a mostly sidelined position, and it is rather difficult to dispel Allen’s prurient proclivity of the couple attaining a reconciliation only after both get their feet wet in adultery, a waters-muddying ploy that recoils on the movie’s intended feel-good aftertaste.

Surely one cannot finish the review without mentioning Allen’s hyperbolic conceit of orchestrating a Greek chorus to add some flourish, which bookends and punctuates the whole movie (often as a phantom manifestation), but the catch is, Lenny’s twee story is, to all intents and purposes, out of the proportion with such a majestic gesture. However, the movie's finale is a good one, instead of blowing the lid off the secret we audience is let on from the very start, appending a fresh one to counterpoint the quirk of fate is quite a cheery kicker.

referential entries: Allens’ HUSBANDS AND WIVES (1992, 7.3/10); George Cukor’s MY FAIRE LADY (1964, 7.8/10).