女魔头

jc /41314/04/2019 draftDr. F C Monster: Understanding How Aileen Wuornos Became The First American Serial Killer Film element: characters and their psychology issuesMonster is a biographical crime film based on Aileen Wuornos’s life story; a film about how Aileen Wuornos became a serial killer. The film is written and directed by a famous woman filmmaker, Patty Jenkins. Monster provided Charlize Theron, who plays Aileen Wuornos, a win at the Academy Awards for Best Actress, as well as other worldwide awards. Another protagonist, Selby Wall, was played by Christina Ricci. The film was produced by Denver and Deliah Films in 2004. Even to this day the film still maintains a high-value for society’s criminal studies by supplying people an insight into the world of a killer and an understanding of a human being’s dark side.The director, Patty Jenkins, is sympathetic to Aileen and opens a window to let people know what kind of tragic life her past held. In this film, the protagonist, Aileen is extremely miserable in all aspects of life, spiritually, financially, and emotionally. The serial killer, Aileen, was an innocent person who became a killer because she was forced by the environment that surrounded her.The conflicts within the film are well set; the goal of the protagonist, fantasy vs. reality, and the conflicts between characters are a few prominent conflicts that stand out. The most important conflict, in Monster, is that Aileen never achieves her fantasy about being in love and living a wealthy lifestyle. As a child, Aileen had a conscious, she was simple, grateful, hopeful, good-looking, and one who dreamed of a fancy life. As a child, she dreamt of becoming Marilyn Monroe but because of the terrible childhood environment, she was forced to endure she instead became an uneducated prostitute who lacked life skills and practical intelligence. She was frequently suffered from both mental and physical abuse. She was isolated. As time went by, Aileen got older and began to hurt more. She became more aggressive, confrontational, and violent. Until a raining night in a bar, before Aileen attempts to commit suicides, she meets Selby. Aileen thinks she finally found love and believes Selby will never hurt her. She tries her best to satisfy the immature Selby's desire for life, but Aileen does not possess too many abilities so she takes back her old job, because of Selby's will. One day, she has to kill a whoremonger to survive. She pretends everything is alright in life to make Selby happy, but never stops to take a look inside herself to see the broken heart that dwells. Unfortunately, Aileen’s sacrifices cannot fill Selby's real needs: living in bliss and without responsibilities. Selby stays with Aileen for pleasure and as an escape from her family. Aileen has never been loved by Selby nor anyone else, but her selflessness for Selby is love in itself. The few shining points within this film are the friendship between Aileen and the aged man and Aileen’s sacrifice for the wrong person, Selby, who has a narcissistic personality disorder. Although Selby was one of the causes that led Aileen to fall into the abyss Aileen still protects Selby from the law until her dying day. Aileen’s love for Selby is her last defense for her ideality towards love and life, and the last defiance to fate and to society. Aileen is a criminal who lost control of life and morals, but she is also a practitioner of faith and love. She is an idealist who sustains her principles of love, even though almost everyone, including herself, continues to hurt her and push her away.Besides analyzing the theme and well-made story conflicts set in this film, the next part of the paper will concentrate on how the director uses mise en scene elements to take audiences deeper into the killer’s life. Patty Jenkins pays attention to every detail of the story. She controls the pace and the mood of the film to make the audience empathize with Aileen’s tragic life. The use of mise en scene reveals Patty Jenkins's directing style in Monster is exquisite, meticulous, and cautious. Using the opening scene as an instance: the operation of aspect ratio, the composition, the camera works, the symbolism, the changing of color saturation, the changing of film tone, and the use of lighting in the opening scene will be analyzed. The first feature of the directing style in Monster is the way she operates the opening scene and its aspect ratio. The second outstanding characteristic is the cautious way she arranges the composition and the symbolism. Patty's unique opening design of the film starts with a video screening in a frame (a small version of 1.85 aspect frame ratio in a regular film frame size). The ratio of video screening between the whole film screen is about 1:13. The design of this opening is very forward and creative. It also starts with Aileen's narrative monologue overlaid by her childhood video screening. It grasps the audience’s attention and makes them feel as if they are watching a home video, which is also Aileen's life reflected prior to suicide. While the video is screening in the frame, audiences get a sneak peek, from Aileen’s point of view, of the cruel world she is a part of. The entire opening clip implies the background story that Aileen was raised in an awful family and had unpleasant memories growing up. When the frame of the small video gets bigger and bigger until filling the entire screen, the audiences are awarded a view of emptiness and hopelessness Aileen faces. At the same time, the flashback is over, the film starts the linear narrative, and the countdown of fate commences. In this first full-screen shot, which is high contrast and a high key wise shot of Aileen cowering under a flyover, audiences notice the strange dark shadow that draws and separates Aileen from the road. Audiences will face Aileen's unpredictable life by following her actions.The opening video screening starts with a close up of Aileen’s head, her eyes full of passion and hope. It's a high key shot with a balance lighting contrast with high color purity. It has a warm tone that has the most hopeful and cheerful feeling in the film, compared with the rest of the film. The light of sunset shines through the window and lights Aileen's back in a 3/4 degree angle; her head faces a mirror in a room without extra lighting. The symbolism and the dominated colors also set the mood at the beginning of the film. The blue, red, and yellow earth colors symbolize her tragic love, violence in life, and her unachievable dreams of wealth, respectively. Aileen as a child wears a blue silk scarf, looking at the mirror, and is framed by the redwood, symbolizing that she dreams about being surrounded by love and the beauty of human nature. She likes pretty stuff, but she gets only abuse in the future, the redwood frame symbolizes her life being affected and limited by violence. The gold necklace symbolized her desire for wealth. Aileen as a child was innocent, pure, and had nothing to do with violence. In this flashback opening clip, child Aileen seems happy and everything in the scene seems lovely. While the camera zooms out slowly, and the video frame is getting bigger and bigger, in the next shoulder shot, while she puts on another gold necklace, a hand touches her heavily touches her shoulder, and turns her back around; her eyes gaze innocently at the audience. This moment symbolized her crashing fantasy. In the next flashback, Patty uses one modern drawing as a transition shot. The narrator, Aileen, says that she stopped sharing her dream with people. A male comes into the frame taking her book away, and ordering her to do something else. She becomes sad and closes her eyes to escape reality. Based on the extreme close up of the angry male’s eyes, the audience is informed that as a child, Aileen, lived with a terrible father.The frame of the flashback memory is bigger than before, the color purity is lowered, the light on the scene turns to overcast, and the emotions on Aileen’s face are no longer innocent nor cheerful. She is angry. In the next wide shot and the following medium shot, people keep their distance from Aileen, while looking at her in an unfriendly way. Narrator Aileen continues to keep her dreams in her heart and intends to prove her dream will one day come true. She believes she will be the next Marilyn Monroe.However, in reality, her tragic life comes to the next transition. The wide shot of her walking on the road and getting into a stranger’s car implies that she has become a prostitute and homeless. In the next night scene, she is inside of a customer's car, the low light key, and the high contrast shows her life situation has worsened and the frame reverts backs to the regular film format size. Her memory ends and the audience starts to venture into her new life, a female serial killer is coming to the world for she is kicked out and abandoned by the male whoremonger and her fantasy dream about the perfect life begins to die. She thinks about suicide. While she sits under a flyover, a raining scene with a wide shot starts her new chapter of life. With a close up of Aileen holding a gun in her right hand, and 5 dollar bill in her left hand, she tries to commit suicide.The common characteristic of Patty Jenkins’ directing style, similar to other female filmmakers, is that Patty uses a lot of dialogue to reveal emotional changes for each character, which she then develops into multiple conflicts related to Aileen‘s fantasy of life and the struggles experienced in the real world.Arthur Schopenhauer thinks “Every life history is a history of suffering.” Human beings fall from pain or grow from it. Most people break laws because they couldn’t find a way out of their struggles. When there is unsolvable trouble for a long time, one may be controlled by depression, anxiety, or anger. Depression because of incompetence; anxiety is due to the unsatisfied desire; a fury is an act of the timidity of performance. When a person is crushed by the mix of irrational emotions like depression, anxiety, and anger, and lack any emotional support for a long time, he/she has the potential to hurt himself and others. Aileen Wuornos is a typical example that demonstrates how a broken soul can walk the criminal path. According to this film, people know Aileen was not a psycho, but she always lacked positive social support and was never loved by anyone. She is always depressed and had been controlled by anxiety and anger her whole life. Even though she never acquires love, she is a true believer in it. Her selfless love for Selby and her explicit behavior in faith for love leads audiences to think deeply about whether people possess love and the faith of life. Through this film, audiences can assume that Aileen Wuornos could have a better life if she had received any effective favors. Patty Jenkins sees the root cause of how and why Aileen became a criminal. This masterpiece of hers is more than a criminal feature, it’s an anti-romance biography of how an ordinary dreamer can become a killer. This film is a textbook study of criminal minds, a reflection of society’s desire for status, and most importantly, a guide that helps people to be wise and caring.Work Cited? None. none target audiences.

这种女性，正如其名，利用其本能与世界对抗。

世界向她显露出的罪恶，她如数奉还给这个世界。

无规则的，本能的爱与恨。

压抑的，令人窒息的，使这部电影的氛围。

很显然，她是一只受伤的兽。

她受了很深的伤，一开始她为求自保，后来她饿了，肆意袭击目标。

她粗俗，她无知，她残暴，可是在这个人的世界，是什么使她变成了兽？

十分惊赞，查理兹•塞隆令人叹为观止的演技！

更多的是社会问题的角度，演员的表演很自然--前天在宣武一个地下市场买的盘，昨天晚上在家中观看。

Aileen Wuornos《monster》、Marv《sin city》，把这两个人放在一起，他们有太多的共同点，只是电影对这两个人物的刻画里，M要酷一些，而A则是让人同情，当然这个不是我想写的重点。

M是漫画人物，身处被定义的环境，sin city 这是个理想状态的城市，处处都是深不见底的黑暗，即使像M那么强悍的人，依然摆脱不了那种精神上的空虚，孤独没人理解，深深的绝望但是没办法摆脱，似乎真理就是这样，他认定了绝望。

歌迪出现了，美丽的生命，就像是一束光打在他的心上，这温暖能融化M冷酷的心，不论是什么样的理由，就算只是利用，M也愿意用此生换这一晚。

A真实的人，处在社会的底层，我相信她看到的罪恶不比M少，或许更残酷。

难得的是A心中对爱的期待是那样的美好，只是生活不是戏剧，上帝帮不了所有迷途的羔羊，一天天down、down、down……直坠地狱。

在她决定自杀的那天，希尔比请她喝了酒，还让她住宿，温暖啊，莫名其妙的就这么来了，就算A不是les，为那种未曾体会过的美好性向算撒。

爱啊，总是来得那么蹊跷。

M知道歌迪只是找一个能让自己安全的人，所以他们之间的关系很简单，双方都是索取者和施予者，爱做的很贴近心灵，M的心灵得到了无与伦比的慰藉。

这种拯救的意义M知道，当歌迪死了，M知道任何理由都不能阻止自己的复仇。

A的希尔比就是上帝给的惩罚，这个小女人懦弱、自私、贪婪，为什么明知道这是上天给下的套A你还往里面跳？

看你局促的笑，看你的尴尬，看你的别扭，这些都不是你本性不是么？

好吧，我能把很多的原谅你的理由，放在你的出生，你的家庭，你教育水平低，你没有生存技能上，但是我不能够原谅你的是你的好逸恶劳、自以为是和贪婪！

对爱的辨别低，我很无语，但是最后希尔比给你下了圈套的时候，你还这么天真，你真可爱！

你对爱的向往、你对幸福的期盼难道没有告诉你，活着的每一天都是有希望的么？

死了什么都没了……似乎不是只有他们，我们每个人对爱的态度，总是参杂着些偏执，在追寻爱情的时候，在一起的时候，在爱离开的时候。

寻求理解、寻求关心、寻求爱与被爱的真谛。

人性就像是狗，给爱的时候呜呜软软的叫，含着满满的信任和幸福；被抛弃的时候，无法相信，心会变冷，开始怀疑，然后在外流浪，依然带着对爱的忠诚。

M比A潇洒的原因，是因为歌迪死了。

A比M幸福的理由，是希尔比还活着。

女魔头这个电影的原型人物Wuornos的人生是一个特别令人窒息的故事： 她的所谓“父母”，其实都是两个小孩。

14岁的女孩和18岁的男孩，他们生下了一个男婴，就是Wuornos的哥哥。

两年后生下Wuornos的时候，“妈妈”其实也就16岁，“爸爸”20岁上下。

而且生下她的前两个月，这对年轻人就已经在申请离婚了。

所以她被生下时就遭到了“爸爸”的抛弃。

她从未见过自己的爸爸。

她、她的哥哥、她的16岁的妈妈，3个人应该是完全投靠在妈妈的父母家，也就是Wuornos的爷爷奶奶家。

她四岁的时候，妈妈彻底走了（不知道去哪里了），Wuornos和哥哥就完全由爷爷奶奶收养了。

而爷爷奶奶不仅都酗酒，爷爷以及他的朋友还对Wuornos实施了多年的性侵。

她11岁的时候就开始在学校里通过性活动来换取食物、香烟和毒品，我猜爷爷对她的性侵肯定发生在她11岁之前。

在这样的成长环境里染上毒瘾毫不意外，还要用性来换取食物，可见家里连吃的也不太给。

14岁的时候她被某个亲戚强奸怀孕了，15岁生下孩子送给了某个福利机构，然后她就辍学了，按中国这边的话就是初中都没毕业。

几乎在同时，奶奶病亡，估计这个爷爷本来就没有承担照料的任何劳动，即便是一边照料一边性侵都不愿意，所以他把Wuornos赶出家门，从此之后她就开始了以卖淫为生的流浪生活。

在14到22岁之间，她6次试图自杀。

她没有过任何正常人的生活环境，从爸妈那儿、从爷爷奶奶那儿得到过作为一个孩子应该被得到的照料，她也没有从学校那儿得到过庇护，学校作为未成年人的生活环境的唯一的外延。

Wuornos应该时刻都处于一种应激状态，所以她易怒、暴力，她没有生活，她只有生存。

她20岁的时候遇到了69岁的一个老头，结婚了。

不知道这个老头怎么想的，是真的出于对Wuornos的怜爱，还是单纯就是一个老不死的，总之就和20岁的Wuornos结婚了，但9周后就提出离婚。

然后到30岁之间，Wuornos一直都过着危险而混乱的恶性循环的生活：性、暴力伤人、短暂入狱、偷车、拘捕等大大小小违法行为。

30岁时，她遇到了24岁的女招待，她爱上了，然后就以卖淫为生养活着她们两个人。

她虽然有各种心理、精神上的疾病，但她仍然想要照料自己爱的人。

只不过卖淫是她唯一会的“技能”。

当然她也是因为从来没被人爱过，所以一旦有人对自己释放一点爱意，对方是69岁的老头也好，还是需要自己去卖淫养家也好，她都去做。

女招待对于Wuornos的犯罪行为应该是知情的，有一些可能也参与了，为了获取自己的轻判，她和警方联合，去套Wuornos的话。

连环杀手对她是一种错误的描述。

她是连续杀人，而不是连环杀人。

连环杀手是通过杀人来满足自己的某种心理需求，Wuornos的杀人要么是自卫、要么是抢劫，更倾向于一种精神疾病状态下的激动杀人，——就是她自己不知道自卫的界限在哪里，不知道愤怒的界限在哪里。

哦对，还有她那从未见过的爸爸，他在31岁的时候因绑架和强奸一名7岁女孩而被抓，2年后他在监狱里自缢了。

整体来说就特别窒息。

剥离了华丽的外表，剥离了道德的掩饰，剥离，剥离…… 所有无关紧要的，而又掩盖事实的成分全部被剥离。

一切赤裸裸的在眼前：爱情，罪恶，残忍，伤痛 　　 她们本来就是被损毁的人物。

一个饱受虐待的妓女，她曾经和所有的少女一样天真，一样满怀幻想，一样有过美丽情怀。

一个备受歧视的女同性恋者，不仅被异性恋歧视，在同性恋圈子里也同样被排斥。

于是在出场的时候一个被打得头破血流，一个手上打着绷带绑着石膏。

她们在社会上是残缺的，是受损的，是被与人群区别开来的。

一点点的亲近，一点点的关心，一点点的爱。

就像卖火柴的小女孩，捧着火柴，幻想着天堂的救世主，她们靠这一点点微弱的，颤抖的火光，幻想着相依为命的的甜美时光。

　　 她们又是在损毁他人的人物。

当女魔头射杀一个愿意无偿帮助她的老人，射杀一个死前念叨着“我的妻子，我的妻子……”的丈夫，念叨着“我的孩子，我的孩子……”的父亲，很难再用同情来形容我的心情。

哪怕她就是射杀一个正常的做交易的嫖客，那也是罪恶。

可是我又无法说，这个女人该死。

她想重新步入社会的努力都被拒绝了（拒绝她的不就是那些父亲母亲好人么？

）。

而情人需要快乐。

当情人在法庭上指证女魔头的时候，我的心都酸透了。

大难临头各自飞，但相煎又何太急（怎么又能不急呢）。

　　 想想她们开着红色跑车出逃的路上，在疾速的风里的狂欢，仿佛是一种仪式，接受命运之手的到来。

　　 　　　　这部电影惨不忍睹。

过了这么久才写下寥寥数语。

是为记。

记我看过的最为残忍的电影。

吸引我眼球的，其实仅仅是拥有南非首席美女头衔的Theron自毁形象出演的噱头。

或许便就是在不经意甚至不屑一提当中偶尔却能见到真正的微光。

人生，亦是如此。

有时爱情徒有虚名。

但是那些真实的少年时代的梦想，希望，曾经向往过的生活，相爱过的两个人相拥的温暖，却是真真切切的，拥有触手可及感觉的。

真正快乐的时光总是嫌少，倘若一切真的能够在进入高潮的时候戛然而止，或许就不会有后面的那些遗憾。

而人类，总是贪图。

贪图那些形成了惯性的盛世温暖。

Aileen说：我曾经向往那个游乐场里面可以上升到很高地方看到很远的摩天轮，少年时候我们叫它作：Monster。

但是当我真的坐上去的时候，还没有上升到一半，我便已经开始呕吐。

她尽管看起来已经不年轻不漂亮不苗条，却还是有和爱人一起或者说是为了爱人改变自己生活轨迹的种种向往：我想去找个正式职业，我想做兽医。

——但是，你没有学历认证，没有资格。

Selby如是说。

很难想象，从未走出家门一步仅仅能确认自己的性取向的Selby却比用俗话说在社会上摸爬滚打了多年的Aileen更有常识。

从这里两人的生活模式可见一斑：Aileen仅仅是像具行尸走肉一般的活着，或许中间会爱男人，却只是当作自己的谋生手段或者改变自己一段时间生活的筹码，在遇到Selby之前，或许她这一生也将延续这样的轨迹走下去了。

没太大起伏，算得上中规中矩；而Selby只是个足不出户抱怨着家人对自己的不理解的叛逆愤怒少年，对于物质，对于那些活给别人看的看起来很美的东西无止境的追求。

——从一开始便注定了，Aileen所付出的感情是要比Selby多得多的。

既然能够相互安慰，相互取暖，便是好的。

这样的思维，颇有一点明知鸦片有毒还是要吸的感觉。

爱情是个什么东西，能让人将所有发生的一切归结于宿命。

打着名叫爱情的光明温暖美好的旗帜伤害自己，也伤害别人。

而它在普通人的社会属性里面能够扮演的究竟是怎么样的一个操蛋角色？

特别是对于两个蜷缩在一起不可理喻的雌性感性动物来说，换取一段时间的安稳生活，需要用杀人的方式来进行——开端仅仅是Aileen遇到一个变态虐待狂不堪受辱的正当防范。

但是无意当中得到的利益却成了她继续下去供给Selby更好生活的理由。

虽然就某种程度来说，寻求感官刺激的男人都是有罪的。

第一次Aileen在遇到那个内心柔软的胖子的时候，并没有选择杀掉他。

和大多数公路妓女的模式一样，只是交易，双方面获取自己所需的东西。

那个时候她的道德底线还是完善的。

真正的分水岭，是那个警察。

不知道有多少人注意到，即便在野合的时候，警察先生还是将自己的鞋子脱下来整整齐齐地摆放在旁边。

从一个细节便能看出来其为人算得中规中矩。

之后在被Aileen诘问的时候，他直接穿上衣服准备走人。

只是道德发现，别无其他。

当Aileen枪杀他之后感觉到的已经不是愧疚难过，而仅仅是在发现其警察身份之后的担心害怕了。

爱是折磨人的东西，却又舍不得这样放弃。

造化就是这么弄人，最后一个死在Aileen手下的男人也是最为无辜的。

当他说着小姐我们可以想办法解决当他默念我的太太我的太太当他想着我刚刚怀孕的女儿的时候，已经决定豁出去干的Aileen仍然面对着自己的良心谴责。

她最后还是选择了杀死他，她别无其他选择。

我相信当那声枪响的时候摸不到头脑的男人已经原谅了她，最难过的，只是别无选择的Aileen。

亡命天涯发生在一男一女之间的时候，看起来会很美。

特别是当男人具有那么一些个人英雄主义气质的时候。

但是不要忘了，大难临头各自飞，这才是血淋淋的事实。

压力在到达一定临界程度之后，人本性的自私就完全显露出来。

于是有了Aileen被捕之后Selby急着和她撇清关系的冷，于是有了上庭被Selby指证的最后一面的绝望。

甚至连绝望都不足以表达Aileen当时的心绪——我想一定是的。

这个时候注意到一个细节：Aileen的辩护律师，同样是身为女人的律师在这个时候拍了拍她的肩膀表示安慰。

大概只有女人才能够了解，这样爱着一个人，所做的一切事情都值得被原谅。

最后她被宣判死刑的时候：“你们这些人，竟然能判一个无辜的女人死刑！

”仅剩下言语方面的那一声太息，来表达自己内心所有。

尽管Theron的表演就某些层面看来有些过分卖力的倾向，而两个女人之间的情色镜头多少让我觉得有些不舒服，这部片子还是值得一看，同时建议正常人远离之。

五个星星推荐。

艾琳童年遭父亲朋友侵犯被赶出家门，成为卡车司机性服务妓女。

邂逅希尔比，感受到温暖和关怀，成为恋人，一起住在汽车旅馆里。

艾琳想找合法的有尊严的职业，面试中被人羞辱伤害。

只得重操旧业。

一次艾琳遇到虐待狂嫖客，艾琳开枪打死了这个男人，掩埋了他的尸体并抢走了他的钱和汽车，为满足生活所需和未来的憧憬，她开始频繁杀人，并杀害一个警察后被通缉，最终入狱，被判死刑。

查理兹塞隆表演很传神，细腻，夺得多个奖项女主角，实至名归。

Monster is the movie which seldom produced by the big Hollywood company.True story,bloody line,lesbian love...all them made this a cult one.I highly recommend the Charlize Theron's performance.She not only changed her face and body weight,but also challenged her gestures and emotions...She is a top actress afterwards.The reality is cold and bloody,faith can move the mountain which said by the end of the movie,is that true for a woman like Aileen?The whole world is shut from her,what should I do if I were her...I dont know,may someone give me an answer....

Love conquers all.Every cloud has a silver lining.Fates can move mountains,love would always run away...看之前真没想到会那么戳人˃̣̣̥᷄⌓˂̣̣̥᷅ 本来只是因为看到了相关新闻，然后对一个人是如何成为连环杀人犯的这件事产生好奇。

开始猜测主角可能是因为身为妓女所以去报复性杀人，可混乱的人生不是能用简单的理由就能解释清楚的。

为了求生而杀人，为了留住爱人而杀人。

稀里糊涂地杀了人，理所当然地继续杀人，意识到自己是个真正的杀人犯时纠结崩溃着杀人......最后，付出一切抢到的车却也只能被抛在一边。

只会给别人kj的Leen，只会大骂脏话的Leen，不管怎么努力都逃不出这个可笑的人生怪圈。

“为什么你不继续当妓女？

你不当妓女怎么养我？

”唯一给过她爱的Selby也这样对她说。

但最后的最后，Leen还是那么爱她，哪怕Selby在法庭上没有看她一眼。

“Coz I love you with all my heart, my soul, my mind. And I will never let you down.” 但我也能完全理解Leen为什么会这样。

在没有遇到Selby之前她的人生已经结束了，在之前她已经是一个死人了，Selby给了Leen活下去的动力和意义，让她活了过来。

这对她那不堪的人生是幸还是不幸？

虽然短暂，但她也算是终于体会到一次被爱以及爱别人的感受了。

但不管杀不杀人，她所想要的那种拥有自己房子和工作的理想生活，永远都不可能实现......人生原来不是努力就能有出路啊。

本片原型Aileen在狱中一直与本片导演进行沟通，并交给她许多自己的私人信件，那个在镜子前做着演员梦的小女孩，以另一种形式走上了银幕......