纽约夜月情

哎，我跟你说，93年的《纽约夜月情》特别适合周末窝沙发看。马修·布罗德里克演的那个老实巴交的男人，老是一脸“我怎么又搞砸了”的表情，特别招人疼；珍妮·特里普里霍恩演的女主嘴硬心软，两个人半夜在厨房撞见的戏码又好笑又甜。Matthew Broderick演的那个总在深夜煮意面的家伙，笨拙得让人想起自己犯傻的样子；Jeanne Tripplehorn在电话里跟闺蜜吐槽时那种既想改变又怕输的犹豫，特别戳人。导演把都市人的孤独和小心思拍得很细碎，比如女主角会为了“整治”乱动她衣架的人，偷偷给对方的漱口水换颜色。镜头冷静地捕捉他们彼此擦肩而过的痕迹——冰箱里多出的半瓶牛奶、电话答录机里错位的留言，这些细节比直白的对白更能传递现代人际的疏离与渴望。没有大起大落的戏剧冲突，全是生活里那些不算事儿的小巧合——比如你刚搬走，我恰好搬进来，留下些牙膏沫和半块披萨。

Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'　　By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses.　　Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together.　　One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around.　　While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with hisher partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken.　　Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...

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