愛(ài)情于靈藥

愛(ài)情于靈藥篇一：紐約時(shí)報(bào)：Love and Other Drugs《愛(ài)情與靈藥》影評(píng)

A Young Viagra Salesman Sees Lust Turn into Love

By A. O. SCOTT

Published: November 23, 2010

Since most romantic comedies take place in a perky, generic present, you may be surprised to see a note in the opening titles informing you that the action in “Love & Other Drugs” starts in 1996. Why so specific? Is there some world-historical event looming on the horizon that will change the characters’ lives forever? Or does the director, Edward Zwick, simply want to evoke a bygone-but-not-too-distant era when a young person could have a lot of fun and make a lot of money without worrying too much about whatever it is young people nowadays worry about (war, terrorism, recession, Facebook)?

The answer is, to some extent, both. The year 1996 was, among other things, that of “Jerry Maguire,” and in its freewheeling, fast-moving first act, “Love & Other Drugs” seems to be staking out similar thematic territory. (It also has some affinities with the more recent and somber “Up in the Air”).

We are introduced to Jamie Randall (Jake Gyllenhaal), a fellow brimming with self-confidence and cheerful aggression but not quite sure what to do with himself besides sell stuff (home electronics and then pharmaceuticals) and sleep with a lot of women. The underachieving son of an eminent Chicago doctor — Jamie’s sister is also in medicine, while his brother is a geeky software millionaire — Jamie has more charm than ambition. He’s a Clinton-era free spirit: feckless, a bit lost, waiting to see what kind of luck or love comes his way, but never doubting that something will.

Which brings us to the world-historical event that makes Jamie’s fortune and takes some pressure off the screenwriters (who are Mr. Zwick, his longtime collaborator Marshall Herskovitz and Charles Randolph, author of “The Life of David Gale,” among other things.) In 1998, you may recall, the real-life company Pfizer, the fictional Jamie’s employer, began marketing sildenafil citrate under the brand(來(lái)自:www.zuancaijixie.com 蒲公英文摘:愛(ài)情于靈藥) name Viagra. The rest is late-night talk show monologue history, and the filmmakers are not too proud to stoop to some easy, naughty and in some cases very funny jokes and gags, including an extended sequence involving the drug’s most notorious side effect.

Supply your own double entendre here. I’m not really allowed to. But “Love & Other Drugs” does not really stand or fall on the basis of its smutty, sexual humor. It does have some elements likely to be cherished by connoisseurs of coarse laughs, notably Jamie’s younger brother, Josh (Josh Gad), who is the tubby, shlubby, erotically challenged (if not dowight gross) sidekick every big-screen player seems to need.

But low farce is only one substance in the film’s dispensary. “Love & Other Drugs” is a sometimes intoxicating, sometimes headache-inducing cocktail: a sweet, libidinous love story; a candid comedy of bedroom and workplace manners; and, most bravely, if also most jarringly, a medical melodrama involving a chronic and very serious disease.

Assigned to a rusty, reasonably picturesque stretch of the American heartland (and to a supervisor played by the reliably put-upon Oliver Platt), Jamie tries to persuade a hot-shot doctor (Hank Azaria) to prescribe Pfizer’s drug Zoloft instead of Prozac. The task has some perils (being punched out by a rival played by Gabriel Macht), and a few perks as well (going to bed with one of the doctor’s receptionists, played by Judy Greer). It also brings about a cute meeting with Maggie Murdock (Anne Hathaway), who sees right through Jamie’s game (not long after he peeks at her breasts) and plays along with it anyway.

Maggie is an artist (she seems to have moved into Melissa’s loft from “thirtysomething,” which remains Mr. Zwick and Mr. Herskovitz’s best work), an adventurer, and a bit of a cynic in matters of the heart. She also has early-onset Parkinson’s disease, an affliction that casts a complicated shadow over her relationship with Jamie and gives the movie a gravity it does not quite know how to handle. Now and then she experiences tremors and bouts of self-pity, but most of all her illness makes her wary of growing too close to Jamie and provides an explanation for her no-strings, commitment-shy approach to intimacy.

Ms. Hathaway and Mr. Gyllenhaal are frequently delightful to watch, and their ease together is a rebuke to the self-conscious, emotionally cautious protocols of modern movie romance. They look good in what might be considered period clothes — wayfarer sunglasses and crisp suits for him, waifish ensembles of knitted layers for her — and also in their birthday suits. Jamie and Maggie have fun in the sack, and on the floor, and wherever else the mood strikes. Their intense and almost immediate sexual connection opens the door to emotions that neither is quite prepared for but that neither wants to resist, and the actors are at their most appealing and persuasive when they explore the borderland between ardor and ambivalence.

But there is an asymmetry in the way the characters are conceived that undermines the film’s credibility. We know a lot about Jamie’s temperament, his ambitions and his background. His parents, played by George Segal and Jill Clayburgh (in her last film appearance), are on screen briefly, but they ground Jamie in a social and familial milieu and help us understand who he is.

Maggie, in contrast, is less a person than a sentimental, fairy-tale conceit: a tragic affliction, an artistic attitude and an unchecked libido conjured out of thin air to test her lover’s resolve and deepen his soul. That she often seems like more is entirely to Ms. Hathaway’s credit.

And it is to Mr. Zwick’s credit that “Love & Other Drugs” almost works, sustaining its blend of melodrama, low comedy and graceful wit for a good hour or so, but then succumbing to treacle, evasion and maudlin convention at the end. Unfortunately the effects of the movie, therapeutic and intoxicating though they are, wear off before it is over.

“Love & Other Drugs” is rated R (Under 17 requires accompanying parent or adult guardian). A lot of sex, some (mostly legal) drugs.

愛(ài)情于靈藥篇二：《愛(ài)情靈藥》電影完整版

愛(ài)情靈藥 愛(ài)情靈藥 (2002)

導(dǎo)演：蘇照彬 編�。禾K照彬 主演：光良 / 陳升 / 劉虹樺 / 戴立忍 類(lèi)型：喜劇 / 懸疑 / 冒險(xiǎn) 制片國(guó)家/地區(qū)：臺(tái)灣 語(yǔ)言：英語(yǔ) / 漢語(yǔ)普通話(huà) 上映日期：2002-04-12 片長(zhǎng)：Taiwan：92 分鐘 又名：Better Than Sex

劇情簡(jiǎn)介

一家日本電視臺(tái)籌劃“臺(tái)灣不良高生改變計(jì)劃”節(jié)目，欄目組抵達(dá)臺(tái)灣，由此與幾個(gè)年輕人產(chǎn)生了互動(dòng)??意外購(gòu)得暗殺名刀“全丸”的斷掌三兄弟籌劃行劫，卻一直被有道德潔

癖的瘋警察（戴立忍 飾）追索。而十七歲的高才生林祖狀（光良 飾）自幼為自己過(guò)長(zhǎng)的下體苦惱，所幸在十歲那年，販賣(mài)黃書(shū)的書(shū)店鄭老板（陳升 飾）收納林祖狀在店內(nèi)幫手，亦用黃書(shū)使林?jǐn)[脫自卑，得到女性的安慰，豈料林從此對(duì)真人失去興趣，令暗戀他的女生譚小英（劉虹樺 飾）心碎。不久鄭老板急病身亡，遺囑林祖狀拜訪他暗戀多年的瘋警察之妻，林在警察家里終于確定了自己的真愛(ài)，他帶著鄭老板的期許，去找尋那個(gè)心中的女孩??

影片短評(píng)

看這片兒時(shí)，我一直在想，光良是不是真的...那啥啊~~

青燈，紅燈，命運(yùn)的青紅燈，倒數(shù)3210，你要去哪里????忘掉A書(shū)，忘掉A片，當(dāng)你打手槍時(shí)，浮現(xiàn)在你腦海中的，就是你最喜歡的那個(gè)女孩

升哥一臉無(wú)辜的遺像簡(jiǎn)直萌死我了，故事講的散，多線敘事基本失敗，但幾乎不影響呈現(xiàn)出的才華橫溢。集合了各種我愛(ài)的元素：一臉淡定的怪咖，犯傻的嚴(yán)肅者，騷情純情前史故事，對(duì)青春迷惘的調(diào)侃式探討（總是看起來(lái)那么親切不裝逼），天真臺(tái)客（看插曲大面積的張震岳），升哥。

模仿痕跡嚴(yán)重，過(guò)渡很爛。通篇異樣，感覺(jué)就一主說(shuō)中文的日本片，但是水平比較菜。沒(méi)有哲理，沒(méi)有演技，沒(méi)有爆點(diǎn)，搞笑也很疲軟。配樂(lè)較用心，但是沒(méi)引力。

愛(ài)情于靈藥篇三：經(jīng)典愛(ài)情物語(yǔ),傷感愛(ài)情物語(yǔ)

經(jīng)典愛(ài)情物語(yǔ)，傷感愛(ài)情物語(yǔ)

你我都是單翼的天使，惟有彼此的擁抱才能展翅飛翔，據(jù)說(shuō)人來(lái)到世上就是為了尋找另一半的，我千辛萬(wàn)苦終于找到了你，靠！卻發(fā)現(xiàn)咱倆的翅膀是一順邊的。

你知道嗎？愛(ài)你并不容易。當(dāng)我陶醉在愛(ài)的世界，享受愛(ài)情的甜蜜時(shí)，也使我深深的體會(huì)到“愛(ài)一個(gè)人真的好難”。

在繁忙的工作中請(qǐng)您接受我最真摯的誠(chéng)意和祝福；愿我的祝福消除一天工作帶來(lái)的疲勞；愿幸福和快樂(lè)伴隨著您生活的每一天。

沒(méi)有你的天，不藍(lán)！沒(méi)有你的花，不艷！沒(méi)有你的飯，不香！沒(méi)有你的眠，不甜！親愛(ài)的，你為什么還不回來(lái)？

寶貝寶貝我愛(ài)你，就象老鼠愛(ài)大米，你是天上的鳳凰飛啊飛，我是地上的豺狼追啊追，我不打你也不罵你，我用感情折磨你。

佛說(shuō)：前世的五百次回眸，才換來(lái)今生的擦肩而過(guò)。如果真的是，我愿用一萬(wàn)次去換與你的相遇，能告訴你：“好想好好愛(ài)你”。

高難度的愛(ài)情，是月色、詩(shī)歌、三十六萬(wàn)五千朵玫瑰，加上永恒；高難度的婚姻，是賬簿、證書(shū)、三十六萬(wàn)五千次爭(zhēng)吵，加上忍耐；高難度的人生，是以上兩者皆無(wú)。

一見(jiàn)鐘情愛(ài)上你二話(huà)不說(shuō)想追你三番四次來(lái)找你五朵玫瑰送給佻六神無(wú)主想泡你七次八次來(lái)煩你九顆真心打動(dòng)你十分滿(mǎn)意就是你。

早晨的太陽(yáng)紅彤彤，我倆的愛(ài)情一場(chǎng)空。中午的太陽(yáng)紅似火，為什么受傷的總是我？傍晚的太陽(yáng)西邊落，都是女人惹的禍！

你給過(guò)我一生中最快樂(lè)的日子，也給了我一輩子的傷悲。我渴望你給我的快樂(lè)，但我不希望你再帶給我傷害。

你是早上的面包，夏天的雪糕，山東人的大蒜，四川人的辣椒。遇到你心跳加快，不見(jiàn)你心情變壞，夢(mèng)見(jiàn)你時(shí)間過(guò)得太快，擁有你但愿不是漫長(zhǎng)的等待。

給你開(kāi)一付愛(ài)情靈藥：真心一片，溫柔二錢(qián)，尊重三分，體貼四味，諒解五兩。以健康為藥引，以似水柔情送服之，劑量不限，多多益善。長(zhǎng)期服用可白頭偕老。

如果把女孩按姿色分為漂亮、有氣質(zhì)、可愛(ài)、愛(ài)國(guó)、遵守交通規(guī)則五個(gè)等級(jí)的話(huà)，你只能被排在愛(ài)國(guó)和遵守交通規(guī)則之間。

想你想的都不行了；穿衣裳也沒(méi)有造型了；跟誰(shuí)也整不出情感了；走到哪也不受歡迎了；想問(wèn)題也趕不上列寧了；心臟沒(méi)事也偷停了；肺炎也不典型了！

魚(yú)對(duì)水說(shuō)：你看不見(jiàn)我的眼淚，因?yàn)槲以谒�里。水說(shuō)：我能感覺(jué)到你的眼淚，因?yàn)槟阍谖倚睦铩?/p>

愛(ài)一個(gè)人就是在拔通電話(huà)時(shí)，忽然不知道說(shuō)什么好，原來(lái)只是想聽(tīng)聽(tīng)那熟悉的聲音，原來(lái)真正想拔通的只是自已心底的一根弦。

單身是領(lǐng)悟，戀愛(ài)是失誤，分手是覺(jué)悟，結(jié)婚是錯(cuò)誤，離婚是醒悟，再婚是執(zhí)迷不悟，沒(méi)有情人是廢物情人多了是動(dòng)物。

可愛(ài)的你偷走我的情、盜走我的心，我決定告你上法庭，該判你什么罪呢？法官翻遍所有的犯罪記錄和案例，最后陪審團(tuán)一致通過(guò)：判你終生歸我監(jiān)禁。

你的眼睛眨一下，我就死過(guò)去了，你的眼睛再眨一下，我就活過(guò)來(lái)了，你的眼睛眨來(lái)眨去，我就死去活來(lái)。

把那誓言輕輕戴在你的手指,從此以后倆個(gè)人要一生一世,仔仔細(xì)細(xì)看看你今夜美麗的樣子,將是我未來(lái)懷抱里唯一的名字。

如果世界只剩十分鐘，我會(huì)和你一同回憶走過(guò)的風(fēng)雨，如果世界只剩三分鐘，我會(huì)吻你，如果世界只剩一分鐘，我會(huì)說(shuō)60次我愛(ài)你……

什么叫浪漫？明知那個(gè)女孩兒不愛(ài)他，還送給她999朵玫瑰；什么叫浪費(fèi)？明知那個(gè)女孩兒愛(ài)他，還送給她999朵玫瑰。

每個(gè)女人都有兩個(gè)版本：精裝本和平裝本。精裝本是給別人看的，平裝本是給家人和丈夫看的。婚姻中的丈夫只看到妻子的平裝本和別的女人的精裝本--這就是婚外戀的動(dòng)機(jī)。

當(dāng)男人遇上愛(ài)情，他會(huì)變得寬容，包容女人的一切的弱點(diǎn)。當(dāng)女人遇上愛(ài)情，她會(huì)變得仔細(xì)，發(fā)現(xiàn)男人的一切的缺點(diǎn)。

一天不見(jiàn)想看你，兩眼發(fā)直沒(méi)有氣，三次拿起電話(huà)機(jī)，四肢冰涼汗直滴，五臟六腑在嘆氣，七嘴八舌怪自己，久而久之有主意，十點(diǎn)之前我等你。

想不到你好花心；騙完就走好狠心；勸你回頭好費(fèi)心；為時(shí)已晚好揪心；認(rèn)錯(cuò)了你好痛心；你的樣子好惡心！

執(zhí)子之手，與子共著。執(zhí)子之手，與子同眠。執(zhí)子之手，與子偕老。執(zhí)子之手，夫復(fù)何求。

你不是一本暢銷(xiāo)書(shū)，但在我眼里是經(jīng)典，很耐讀，我愿讀你一輩子。

你快回來(lái)，我一人飯做不來(lái)。你快回來(lái)，飯桌因你而精彩。別讓我的胃空如大海！

其實(shí)，男人結(jié)婚是錯(cuò)誤，離婚是覺(jué)悟，再婚是執(zhí)迷

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