你愿意嫁给我老公吗

一个母亲，养育了8岁的双胞胎和她老公在婚前就有的一个女儿。

然而，面对病情和即将来临的死亡，她需要为他们作出一些安排，而她认为最妥善的安排是找到继女的亲生母亲，让新妈妈重新维系起这个家。

幸运的是，继女的亲身母亲至今没有婚姻，在印度从事孤儿养育的慈善事业，急需善款。所以，这位母亲能想到是将公司卖了，将她的财产成立了一家基金会，委托继女的亲生母亲管理，提出的条件就是她需要留在美国。

在撒她的骨灰时的画面中，继女的亲生母亲在为双胞胎中的其中一个孩子拉直衣领，我想的是，这个母亲已经为她逝去之后，给予她的家人们最好的安排。

有多少人可以做到这样理智的安排？应该很难吧……

大家的评论都已经指出，的确人设混乱，有点是硬伤（原著是“”一女两男“”），放弃女孩，婚礼上又发现亲身女儿，产生故事矛盾，但是演员配置上、颜值、演技上非常出彩，尤其是三位主人公（两女一男）在厨房争吵的那一段，非常精彩，很真实，代入感很强，连续看了5遍，尤其是男主，保护现任妻子，对过去女友吼的那一句“dont' talk to her like that” 还有“idon't owe you anything”，以及“you said in my face...”那一段，句句深入，真实、激烈、一点不浮夸，尤其是对于一个之前没有看过原著的人来说，这里的“答案”至少是“合理”了，基本上逻辑顺了，演员的表现和张力给力，是功劳，給90分，代入感非常强；另外好几处的细节非常棒，非常好，女主最开始，吃药、助理敲门说预约体检、强烈要求必须要求女二本人回纽约面谈，其实是想让她参加亲身女二的婚礼，等已经埋下了伏笔，细节做得很到位，一点不刻意；关于演员配置：女儿的善，面相的纯，和女二真有血缘香；另外，男一的颜值很帅，眉毛浓厚，最出彩的是他的眼睛，充满了自信、积极、迷人、乐观（唯一小缺点：肩膀有点窄，耷拉肩膀），不过总的来说，演员颜值上、配置上非常棒了。至于演技上，真的很棒，不信的大家可以亲自去看一下了，注意细节、演技啊！（ps，我同意前方说的一句话，美国电影，前半部80分，冲的很厉害，后半部有点松散，因为故事矛盾已经产生、代入感已经完成，后半部就平平淡淡走稳路线就可以了）

Hollywood’s remaking business is always a mug’s game (whether of its own repertoire or foreign tongue goodies), even for an actor with the caliber of Julianne Moore (with a track record including PSYCHO 1998, CHLOE 2009, CARRIE 2013), who has to scrape the recycled barrel to get new projects financed, which may pointedly signal the hemorrhage or deficiency of women-savvy scribes in the Tinseltown, and leave the current situation much to be desired.

After her terrific turn in Sebastián Lelio’s self-reflexive remake GLORIA BELL (2018), Moore’s following acting gig is another one, AFTER THE WEDDING is an American adaptation of Susanne Bier’s 2006 Danish Oscar Best Foreign Language Film nominee of the same name, and this time, her hubby Bart Freundlich is the writer and directer, his 7th feature (four of which starring Moore).

Thanks to an over-a-decade time-span, this reviewer only retains a rather vague memory of Bier’s original (save that Mads Mikkelsen and Sidse Babett Knundsen are brilliant in it!), which turns out to be a blessing to retain the suspense of the plot. Apart from the location and nationality change and the with-it gender swap, Freundlich’s remake follows closely to Bier’s storyline. Isabel (Williams), an American who has expended most of her life in running an orphanage in Calcutta, India, is requested to meet a potential benefactor, the multi-millionaire entrepreneur Theresa Young (Moore) in New York, who is considering donating millions to Isabel’s strapped institution. Isabel is casually invited to attend the wedding of Grace (Quinn), Theresa’s 20-year-old daughter, only to be wrong-footed when she realizes that she is Grace’s biological mother, and Grace’s artist father, Oscar (Crudup) is her ex-lover, who reneges from their consensual decision to send their newborn baby for adoption, and without informing Isabel, he raises Grace on his own, and later marries Theresa.

So after the wedding, what comes next, a funeral perhaps? It doesn’t require much deliberation to smell the manipulation behind this sheer coincidence, in spite of Theresa plays “I didn’t know” card as naturally as possible, and the movie’s Taiwan title can be literally translated as “Can you marry my husband?”, that comes as a dead giveaway of the twist, also prompted by Theresa’s obsession with an empty bird nest with broken eggshells. In time, her arrière-pensée can no longer be concealed and once her cards are laid in the open, the conundrum falls onto Isabel, leaving her lifelong endeavor in India, not to mention her strong connection with a local orphan boy Jai (Pachisia) and returning to New York, living on the easy street with her own daughter with millions of funds under both’s names, Theresa’s offer is too munificent to decline, and Isabel’s final capitulation seems like a missed opportunity to upgrade the treacle-like story to something more urgently resonant, since the white savior scenario is no longer popular anymore, the disenchantment and struggle of an idealist should have been the cynosure.

As a melodrama, AFTER THE WEDDING disproportionately hinges on the two female performers here, Moore juggles dexterously between a loving mother (including a trademark bawling confession) and a sharp-edged business woman (teeing off on her secretary is a go-to option to show Theresa’s diva side), and the movie is at its best when Moore plays off with an equally excellent Williams, who emphatically refuses to dial down Isabel’s skepticism in the face of a bolt out of blue and suspicious windfalls, also sends off her indignation by doffing her shoes (a knee-jerking reaction reflecting the world she lives in), their blunt-versus-peremptory interplay attests why we love to watch actresses trying to upstage each other if they are granted a stage together.

Crudup is ever so apt in supporting his two leading ladies and puts on a mask on Oscar’s own agenda, only betrays it in small gestures with both frustration and compassion, whereas newcomer Abby Quinn’s Grace is laden with the most dramatic happenstances (getting married, then regretting it, her birth mother, whom she reckons is dead, cropping up out of nowhere, plus bad tidings of an impending bereavement), but not enough content to underset them, save a daunting love-gushing moment that can be easily read as cringe-worthy, Grace should have been the most conflicted character, but the film doesn’t give her enough credit, as I said, it is a mug’s game and AFTER THE WEDDING has no distinction to break that curse.

referential entries: Susanne Bier’s AFTER THE WEDDING (2006, 7.3/10); Freundlich’s TRUST THE MAN (2005, 6.1/10).

片名中有婚礼这词，就大概能猜到肯定是家庭drama。我对外语片比较少关注，所以原版《婚礼之后》当年作为外语片时入围了奥斯卡最佳外语片，但我也没看过，非常不好意思。这也是为何我觉得好的故事还是有必要翻拍成英文的，因为真的很多人都像我一样，很排斥看有字幕的电影，特别是drama类型，因为看得很累，并可能会因为字幕没跟上而无法理解得很透彻。这个故事是没有文化和语言局限性的，所以翻拍成英文版完全没有水土不服。

本片将原版两个男主变成了女性其实不仅符合故事本身的设置，也在当今也更符合现实。早前故事中的富翁是男的，艺术家是女的，是很传统的设置，但如今女性企业家那么多，朱莉安摩尔在片中出演的创业者很有说服力，不仅干练，也有温柔母性的一面，让故事最终的感情升华更为真实动人。米歇尔威廉斯出演的老师更是适合女性，这个角色充分展示了一个曾经不够成熟的女孩在长大后的转变。两个角色都塑造得很出色，特别是摩尔张弛有度的表演更为亮眼。导演也是朱莉安摩尔的老公，可谓给自己的老婆量身定做。

不剧透具体剧情，这个故事我最喜欢的地方是，它从头到尾都在说一件事：不要在太年轻、不成熟的时候仓促地结婚生孩子，这样可能会导致你做出更加不负责的决定。而女性在这事儿上做出错误选择的可能性更大、付出的代价也更大。悲惨的例子咱们见得太多了，电影里、新闻上、身边。。。不胜枚举。所以在看了这么多之后，干嘛还要在乎什么专家说的25岁-28岁适合生育？如果你是自己人生的编剧，应该知道如何避免悲剧收场。

我一直觉得，人，在不同阶段要做不同的事，不能只考虑生理上的发展和需求，那样岂不是与低等动物没区别了？毕竟我们与一般动物的区别就在于除了生育，我们还有更多的精神上、物质上的需求，对自身的要求也更高。也因此，有些年轻女孩如果很早就生孩子，因为无法实现自身的追求和理想，内心就会不平衡，久而久之，真的会抑郁，也会容易做出更不负责的决定。说白了就是因为不甘心，不甘心人生就这样早早被束缚了。希望那些依然坚持30岁前一定要生孩子的人，要看看这部，是一部非常适合让人冷静下来，考虑自己人生追求的电影。特别是女人。

人生很多事儿都可以犯错吸取教训再重来，但是生孩子不行，生了就塞不回去了，所以慎重、慎重、再慎重。一定要等你可以成为一位负责的母亲时再生，也是对孩子负责。

看到烂番茄上给负评的都是男性，因为这部电影其实更针对的是女性观众，自然女性观众也会更有共鸣，特别是那些喜欢This is Us这类家庭drama的观众。

双强女主的文艺片，等了好多天的EN字幕。女主作为闯入者，带着观众视角，一步步揭开扎心真相的归国之旅，前半程极具张力。

Diane Kruger本来要演，但档期不匹配，Michelle Williams接棒。美国戏前半程牛逼，单拎出来可以给8分，后面就水掉了。

扎心了老铁。

不得不现身的要钱的活儿，结果碰上亲生女儿的婚礼，句句锥心

逃离现场，不想和这里的欢喜沾上一点关系

原来是18岁母亲跟男友一起决定放弃孩子抚养但男友变卦了，亲妈惨淡的内心啊

和闺女单独见面后，心中乌云散去；一起喝茶追忆女儿成长相册后，澎湃的配乐

互相捅刀子的女人啊，Michelle Williams可以奥斯卡女主角提名了

女儿的眼神像shailene woodley

一个普通的剧情片，我居然看哭了，有孩子的人太容易代入了。我觉得我是很不怕死的人，因为我太怕痛苦了，但孩子成了那个我唯一不敢死的人，说真的我甚至想如果是Theresa这样的大富豪死了也就死了吧，孩子也不能受苦，我这样的穷人才更不敢死。Grace和Isabel都责怪Oscar这个点，我也有点不能同理，但是和配偶讨论了一下他认为是会生气的，因为“不能代替另一个人做决定”，我嘲笑他你倒是西化得快。但这真可能是东西方文化差异，按照东方人的理解养育之恩如此了得，哪还敢责怪一个默默承担了这么重的责任的人？况且如果被亲生父母抛弃孩子不知道得多苦呢。但是对西方文化来说，可能很多事情的重要性排序不是这样的，比如承诺、诚实之类的更重要，而被收养的孩子也不意味着就失去被爱的可能，父母的养育之恩也是本份不是什么恩重如山，要是这么理解，Oscar接回Grace确实只能说他非常自私并且欺骗了两个人，而Grace与他和解也是因为互相之间深厚的感情而不必感激父亲没有抛弃她。