情人眼里出西施

这部片子还是同学借我的。

放我们家半年了都。

今天实在无聊才突然想起来看。

看着封面和简介，感觉很一般，就好像看真相大白差不多……但是剧情慢慢的开始吸引我。

表面上虽然粗制滥造（个人感觉），但情节还是很细腻的。

从一开始hal的审美观和后来的rosemary的身材，其实应该感谢那个给他催眠的人。

hal选择了另外一条路。

另外给我印象很深的一个是那个被烧伤的小女孩，另一个就是hal的长尾巴朋友… 其实每个人都会有些缺点。

但是不能因为这些缺陷就否定他的价值。

我每天都很不习惯，明天我大概会开一个“我去参加妙龄少女追悼会”的玩笑有吗？

妙龄？

那见鬼的成长的活着 给历史拖着高潮低潮 时有时无喝点去吧。

荒唐 神情诡异 神志不清 身份不明今夜我们都是csb不用一个也不能少也不必假装讽刺大幕依然决定你的性趣你的质量"而我的目已垂落"一定要走又冷又有颜的路线

天啊，我这么热爱道德的人，为什么看着片子越看越恶心，假大空啊，假大空，当年我看共产党片子都没觉得有什么假的，为什么这片子我看这么恶心。

你要证明丑也是美，颠覆我们“非正常”的价值观，为什么不一直用哪个丑女，还要搞个美女来给我们看，我承认我是外貌协会的，谁不是外貌协会的？

为什么女生要化妆穿漂亮衣服，减肥整容化妆啊，不是我歧视丑女，没有丑女人只有懒女人，非要说心灵美可以代替外表美，天啊，去你妈的美国电影，去你妈的好莱坞，共产党也不敢这样啊，也不敢说心灵美代替外表美啊。

喜欢这片子的人自己去找个丑男丑女啊，上街找个乞丐啊。

我就是庸人，就是浅薄，就是爱美女辣妹， 美比道德重要。

电影一开头，在医院，是哈尔的老爸在临终前给哈尔的建议：永远不要满足于中流水平不要满足于普通货色的女人给自己找个丰胸翘臀的美女激情的青春时光就是一切幼小的哈尔留下很深的记忆，于是当他长大后，他变成只在乎女人的外表，只喜欢年轻的女孩，尤其对她们的身材很挑剔。

后来在那个电梯，那位医生帮了他一个忙，其实就是催眠他：无论你见到什么人，你只会看见他们的内心。

你会以此来评价别人，因为内心，才是真正美丽的所在。

后来，哈尔遇见了美丽的可人儿Rosemary，实际上Rosemary是个非常肥胖的女人，但是她的内心是如此的善良，所以在被洗脑的哈尔眼中，他觉得不应该在人间的仙女。

于是他疯狂地喜欢上Rosemary,当哈尔的好朋友Mauricio把哈尔带回现实后，此时哈尔发觉自己再也不是外貌协会的，所以之前他追过的女孩反追回他，向他献殷勤，他很坚决地拒绝了她，继续他和Rosemary这段感情。

其实当哈尔意识到之前美女都是假的，我想他其实很矛盾的，因为他一开始喜欢Rosemary是因为她有天使般得面孔，魔鬼般得身材，相处久了发现她同时善良、聪明、幽默，所以当他知道这一切时，他不清楚到底那个更重要，他在慢慢的感受，最后是内在美战胜了外在美。

选择了继续这段感情。

当然电影很简单，也很美好，无非是向观众阐述正确的爱情观，就是爱一个人，不应该只看外表，更应该注重内在美。

但是从男生角度去分析，男生喜欢女生，往往是因为女生的外貌吸引，男生就是这么视觉化的动物，后来我发现，女生也一样。

此刻，我的头脑分成了两派，左脑代表内在美，右脑代表外在美。

右脑：电影中哈尔一开始不也是被Rosemary的美貌吸引，只不过这美貌被电影故弄玄虚，说是内在美的化身，就是骗你们这些小孩，而且电影能有那么高的票房，关键不也是请了美女来演，没有外在美，就根本不会去了解一个人，也就不会有内在美，所以外在美能不重要吗，能不重要吗？

左脑：假如有一位女孩很美，然后你们交往，发现她不讲理、脾气又大，另一个是女孩很丑，但是交往后，你发现她内心很善良，有共同话题，经常有说有笑，你更能接受哪一个。

右脑：That is bullshit，如果整天对着丑八怪，能有心情活下去吗,怎么可能有说有笑呢？

左脑：高老头的女儿跟猪八戒不就是好例子右脑：猪八戒能三十六变，他平时变成帅哥。

左脑：不讲理，那好，黄月英和诸葛亮的例子，你没的反驳吧。

右脑：历史上有些书记载黄月英其实美女，只是为了考验诸葛亮才扮丑的。

左脑：你他妈还讲不讲理。

右脑：怎么不讲理了。

……忽然间，明白《情人眼里出西施》其实根本就不是内在美与外在美哪个更重要的较量。

只要某个他/她完全符合你的审美的标准，那他/她就是心目中的西施/白马王子。

而且每个人经历不一样，审美标准肯定不一样，不能以某一套标准来限制人对事物的认识。

看完之后面对这一千多条短评及几条长评不知道该说什么，只能说这部电影的价值观放到现在已经相当陈旧。

以下是Megan Garber于2021年11月9日在《The Atlantic（大西洋月刊）》上发表的有关《庸人哈尔》的最新评价，我觉得写得蛮好，所以全文搬运以作留档。

先介绍一下Megan Garber这个人，以下文段是大西洋月刊对其的介绍文案：“She is the recipient of a Mirror Award for her writing about the media, and she previously worked as a reporter for the Nieman Journalism Lab and as a critic for the Columbia Journalism Review. At The Atlantic, she writes about the intersection of politics and culture (which often, but not always, means that she writes about reality TV)”

《大西洋月刊》特约撰稿人Megan Garber以下是正文：

In 2001, doing press for Shallow Hal, Gwyneth Paltrow spent a lot of time talking about the fat suit she wore to play Rosemary, the film’s romantic lead. She spoke in particular about an experiment that she and the film’s makeup-effects designer had undertaken to test the suit’s credibility out in the world. At a fancy hotel in New York, Paltrow donned the fake weight. She walked through the lobby. She walked to the bar. She noticed how people looked at her, and how they refused to. “It was so sad,” she told one reporter. “I didn’t expect it to feel so upsetting,” she told another. “I thought the whole thing would be funny, and then as soon as I put it on, I thought, well, you know, this isn’t all funny.” Paltrow’s assessment of this experience—apparently funny, not all funny—doubles as a pretty decent review of the film she was trying to promote. Shallow Hal is a fat joke with a 114-minute run time. From the moment it premiered, in early November of 2001, it was poorly aged. It’s tempting, 20 years later, to look back on Shallow Hal and feel we have cause for congratulation: The movie is bad, and we know it’s bad, so progress must have been made. (Paltrow herself, expressing regret last year about her part in the film，call it a “disaster.”) But Shallow Hal has not been relegated to the annals of cinematic shame. On the contrary, it has retained a revealing currency. It has expanded its reach through streaming services, where it is popular and even beloved. And it speaks to a culture that still interprets fatness as a condition that deserves whatever mockery it might get. Shallow Hal could never decide whether Rosemary was a human or a humiliation. Its confusion remains all too timely. The story goes like this. Hal Larson (played by Jack Black) is a generally sweet guy with an overarching flaw: He judges women by their appearance, refusing to pursue romantic relationships with women who don’t look like models. One day, through the combined forces of magical realism and the self-help seller Tony Robbins, Hal gets an attitude adjustment. Robbins hypnotizes Hal, ensuring that he will see people’s inner beauty reflected on the outside. Then he meets Rosemary Shanahan (Paltrow), who is smart and funny and fun and kind, and who weighs about 300 pounds. Rosemary looks like Gwyneth Paltrow in a fat suit. Filtered through Hal’s new gaze, though, she looks like Gwyneth Paltrow. That interplay of vision and reality—the cosmic wrongness of Hal’s perception—is the film’s defining joke. “The biggest love story ever told,” its promotional poster promises with a wink. Does the spell eventually break? Does Hal finally see Rosemary as she is? Does this celebration of Rosemary’s personality offer a torrent of jokes about Rosemary’s body? Yes. Over the course of the movie, Rosemary breaks not one but two seats: a flimsy chair at a burger joint and a booth at a fancier restaurant. When she and Hal go canoeing, Hal’s side of the boat tips into the air, like a seesaw trapped in the upswing. And when she and Hal go swimming, Rosemary, diving in, creates a wave so powerful that it deposits a kid into a tree. “Sorry,” she says, somehow both defined by her size and oblivious to it. Shallow Hal was directed by Peter and Bobby Farrelly, who had previously brought to the world Dumb and Dumber, There’s Something About Mary, and other films known for their giddy unions of humor and heart. In promoting the film, the Farrellys tried to argue that Shallow Hal was similarly nuanced. The people who were offended by the movie, they insisted, had missed the point; the film was challenging callous stereotypes, not endorsing them. It was exploring the meaning of a big body in a world that makes space only for small ones. That it treated Rosemary’s weight as setup and punch line at once was apparently just part of the satire. “This movie’s heart is in the right place,” Peter Farrelly insisted when Shallow Hal premiered. The film’s makeup-effects designer, Tony Gardner—the orchestrator of Paltrow’s fat suit—echoed this claim. The Farrellys, he said, “are not making fun of [Rosemary’s] weight, they are embracing her weight. Peter calls it a valentine for overweight people.” If so, the film is a dubious gift. And its grim condescensions remain familiar. Rosemary’s primary function in Shallow Hal, beyond absorbing the movie’s mockeries of her, is to facilitate Hal’s self-improvement. Both roles are demeaning. But the film suggests that she should be happy for whatever she can get. “Personally, I don’t feel any gratitude for a movie that profits at my expense,” the fat activist Marilyn Wann told the Chicago Tribune shortly after Shallow Hal premiered. The singer Carnie Wilson, whose weight had been tabloid fodder for years, called the movie “hurtful in my heart.” “Rosemary breaking things” is not the only strain of humor in this film. Shallow Hal also has great fun with the notion of “Rosemary eating things.” Early on, she explains to Hal that she long ago realized she’d be the same size whatever she ate. It is the most empathetic line in the film. (In the world beyond the movie, studies show that some 95 to 98 percent of attempts to lose weight fail.) But the brief moment of grace is overshadowed by the film’s more deeply held conviction: that a fat woman caught in the act of eating is comedy gold. We see, for example, Rosemary and Hal sharing a large chocolate milkshake; when he turns away for a few seconds, she speed-drinks the entire thing. Later, she asks Hal’s co-workers for a piece of the cake they’re carrying—and then helps herself to an extremely large slice. Cut to Rosemary walking away, clutching the cake in both hands as she munches.No real person would do that. But Shallow Hal, for all its lofty claims of charitable humanism, is not interested in what real life would be like for Rosemary. It is interested merely in mining her body for LOLs. After a while, even its lazy jokes make an accidental argument: They suggest that Rosemary’s body is a problem, not just for her, but for others. Over and over again, her weight—the food she eats, the space she occupies—takes something away from other people, whether it’s a milkshake meant for two or a cake meant for 20 or a pool meant for all. Shallow Hal is bad because it treats Rosemary’s body as comedy. But it is insidious because it treats her body as tragedy.And the movie casts a long shadow. Many Americans still see other people’s weight in precisely the same way that Shallow Hal does: as a problem that affects everyone (“the obesity epidemic,” “the war on obesity,” etc.), and is therefore the business of anyone. A New York Times column published earlier this year reported that some people had put on pounds as they navigated the traumas of a global pandemic. Noting the correlation between weight and COVID mortality, the piece chided these people for their negligence. Its author went on to explain her superior practice of self-control: “My consumption of snacks and ice cream is portion-controlled, and, along with daily exercise, has enabled me to remain weight-stable despite yearlong pandemic stress and occasional despair.”The brand of thinking underlying such smugness—that fat people are merely thin people who aren’t trying hard enough—is mythology that easily expands into bigotry. One of the grimmest elements of Shallow Hal is that, underneath it all, it understands Rosemary’s weight to be more than a matter of will. But it mocks her anyway.The years since Shallow Hal premiered have seen several paradoxes at play in American culture. Scientists have been learning more about the genetic factors that contribute to body weight, and about the metabolic adaptations that make weight loss, if achieved at all, extremely difficult to sustain. Over the same period, bias against fat people has grown. (A Harvard study of some 4 million implicit-bias tests taken between 2007 and 2016 noted a drop in several biases measured, including those related to race and sexual orientation. Bias based on body weight was the only one that increased.) As the lexicon of body positivity has made its tentative forays into American mass culture, that culture as a whole also continues to conflate thinness with wellness, wellness with health, and health with moral superiority.In one of the decidedly unpoetic ironies of this moment, the woman who described the “sad” minutes she spent navigating the world in a fat suit is helping to enforce those equations. But Paltrow’s is only one voice in a chorus that treats big bodies as deviant bodies: Adele, having lost weight, is portrayed as triumphant; Lizzo, having not, is portrayed as “brave”; Donald Trump is criticized not only on the grounds of his harms, but also on the grounds of his heaviness. The ABC sitcom American Housewife, which ran for several seasons starting in 2016, dedicated its pilot episode to its main character’s realization that, after a woman she calls “Fat Pam” moves away, she will be the “second-fattest” woman in town.Hollywood has given us many other characters who are thus flattened, among them Fat Amy and Fat Betty and Fat Thor and Fat Monica and Fat Schmidt. It has served up cruelties in the name of comedy. The actor and comedian Olivia Munn, “joking” in her memoir: “I will fix America’s obesity problems by taking all motorized transport away from fat people. In turn, I will build an infrastructure of Fat Tunnels, where all the fat people can walk. This will create jobs and subsequent weight loss.” The comedian Nicole Arbour, in a viral video: “Fat-people parking spots should be at the back of the mall parking lot. Walk to the doors and burn some calories.” The TV host Bill Maher, on his show: “Fat-shaming doesn’t need to end; it needs to make a comeback. Some amount of shame is good.”What’s notable about the “jokes,” beyond the fact that they barely qualify as jokes at all, is that they are framed as expressions of concern. They embrace Shallow Hal’s wayward logic: that making fun of fat people is a way to help fat people. The creator of Insatiable, the revenge fantasy of a fat-turned-thin teenager that streamed on Netflix starting in 2018, tried to rationalize the show’s bland bigotries in the same way that Shallow Hal’s creators had: by insisting that they were critiquing weight stigma, rather than perpetuating it. The 2018 movie I Feel Pretty takes the Farrellys’ premise—magic that makes one see the world differently—and aims it inward, at a woman who becomes convinced that she looks like a model. The film’s creators also insisted, unconvincingly, that they were going for satire.When Shallow Hal premiered, some reviews echoed its creators’ marketing messages. The Times dubbed the movie a Critic’s Pick, claiming that the Farrellys “cunningly transform a series of fat jokes … into a tender fable and a winning love story.” Roger Ebert argued that the Farrellys were “not simply laughing at their targets, but sometimes with them, or in sympathy with them”—and concluded that “Shallow Hal has what look like fat jokes … but the punchline is tilted toward empathy.”The bar, in those assessments, is so low. And it remains low. Shallow Hal’s reviews on Amazon Prime, where it is currently rated 4.7 out of 5 stars, include praise for its “moral message” and its “surprisingly deep premise.” The raves are at home in a world that still treats fat not as a neutral description, but as a degradation. Even in its triumphal final scenes, its romantic messes having been tidied, Shallow Hal returns to its easy inertias. Hal tries to lift Rosemary up, and the camera zooms in on him as he strains, his face twisted with exaggerated effort. A few moments later, as the couple prepares to drive off into their happily-ever-after, they get into a car. Rosemary crushes her side of it. These are the true physics of a movie obsessed with weight. Shallow Hal does what so many people have done over the years, because American culture says they should: It looks at a fat person and sees nothing but a joke.（由于看完后立刻决定搬运，所以没有附上翻译，如果可能会抽空更新翻译版本，现在就先记录留档下。

）

假若我们可以一眼看到别人的内在美，而不再仅仅关注外在容貌，那会是怎样的场景？

不知道，但电影《情人眼里出西施》便展现了一个如此神奇的故事。

男主人公的父亲临终前告诉儿子以后找伴侣一定要找个丰臀翘乳的美女，在这样一通告诫之后，小男孩慢慢长成了只关注女人外表的大男人，可谓对美女的标准要求十分挑剔。

但之后在一个偶然的机会里被一位高人催眠，从此眼睛看到的都是别人的内在，可能原本外在丑内在美的人他看到的就是个美女或帅哥，但有些外在美但内在丑陋的人在他眼里就是个丑陋的人。

只是到最后才发现，自己爱上的那个看上去身材苗条、聪明幽默的女人，实际外表上是一个完全不符合自己原有择偶标准，胖到不能再胖的胖女人……

一直都是看脸的时代“内在美”和“外在美”一直是老生常谈的话题，我们也常常会说“人不可貌相”，但现实中，谁又能一眼就辨识出别人内在的美丑，你能看得出吗？

反正我不能。

爱美之心人皆有之，于是基本上我们都爱看上去很美的事物及人儿。

于是，“看脸”成为时代的常态。

人人都爱美人、帅哥，形象好的人总是会得到更多的便利。

最近注册了两个职场APP，因为种种原因今年脸上冒痘简直不能看，于是一个用的头像是去年拍的没有怎么露脸的，只是展现很喜欢的一件裙子头像，另一个则是用了去年的一张摘掉眼镜，化了妆的头像。

很有意思的是，用了正脸化了妆的头像，虽然发言很少，还是有更多的人加我，而另外一个虽然经常参与社群讨论，发表热门观点，加的人也是很少。

在看职场招聘节目时候，待遇亦是如此，同一个人，好看点的人，人们才会有耐心多聊会，薪资也会加倍，不好看的，聊都不想聊，这就是大写的现实。

所以说，还觉得自己脸不重要的人们，别再天真了。

如果你想获得更多的关注和机会，请收拾好自己，打理好自己的形象。

我相信你也是爱美的，就别期望别人能够从你的邋遢中一眼看出你的内在美。

另一方面，即使不是为了吸引别人，为了自己更要努力把自己变得美美的。

当你熬夜、吃垃圾食品等等不良习惯把原本美美的自己折腾成满脸长痘时，失去的不仅是外在的关注更是对自己内在的喜欢、认可及自信。

当你学会去关爱自己，去滋养自己，去装扮自己，除了可以收获美丽的外在和形体，更是谁都拿不走的满心愉悦和欢喜。

所以，早休息、去运动、吃健康食物、给自己化个美美的妆，把自己也变成让世界及自己喜欢的美好之一。

但最后拼的还是实力电影最后，男主角没有选择最初追逐的美女，而是选择那个远远没有达到外貌标准的胖女人。

或许听起来是多少有些童话故事的色彩，但在现实中我们也常常会看到，一些帅哥的老婆不一定是美女，一些美女牵着的也不一定的是长相多么帅气的人。

因为，比“脸”更长久的，是其他更值得欣赏与敬佩的东西。

再美的脸也有看厌倦的时候，但如果一个人幽默、聪明、开朗、上进，对生活总有担当和探奇之心，他便会让你的生活变得更有趣，更加多姿多彩。

与这样的人相处，比一个花瓶比起来，日子岂不是更丰富？

而一个人一旦内在丰富了，外在气质也会随之改变。

所以，吸引别人目光的可能是一张秀美的脸，但留住心上人的，可能就要看你有没有把日子过得多姿多彩，能够接纳包容对方一切的心胸。

内在美和外在美并不冲突，有很多的人不仅长得有料，更是活得有料。

不论是外貌还是内在，如果你都有一丝可雕琢的空间，就试试去用心打理，你给予生活美，生活一定会给你展现更美的样子。

而更为重要的是，有些时候，不要仅仅被我们的眼睛所迷惑，不要仅仅因为外人的言语就左右了自己的幸福，用心去觉察真正的美丑与自己内在真正的感受，你一定会寻找到自己的幸福所在。

2001年的瘦身熱潮令電影公司推出了《瘦身男女》跟這部《shallow hal 》，前者是一部笑話，對於諷刺瘦身沒有任何關係，而且特技化妝特差，根本是部垃圾。

而這部帶出的信息很到位，男主長相平庸卻要求super model女友，非常荒謬但卻很現實，現實生活中的確很多這種外貌協會但自己又沒條件的人，或男或女都很多，嫌棄人家卻不懂先嫌棄一下自己😌300斤的rosemary在治癒師的催眠下讓男主看到的是美麗而身材均衡的gwyneth Paltrow, 在不知道真實的Rosemary的情況下，他感動了他公司的老闆（也就是rosemary的父親）、他那個美女鄰居。

連他最好的朋友也不明所以，但一句shallow hal wants a gal就為他解咒了，he want his friend back! 再後來，他那個美女鄰居忽然對他投懷送抱了，而她之前拒絕男主的原因竟然是因爲she thought he was shallow! 她不想接受一個只看到她的外表的男人，但我真想問一句：do you have anything good besides your beauty? 這時男主終於明白了，他決定找回rosemary！

真正的美麗不在外表，像是rosemary那些朋友，醫院裡那個被火燒傷的小女孩，可是我們總是相信外表不看內在美，的確外表是很重要，但如果內心醜陋虛有其表又有何意思？

感觉这片中女主肥胖的造型影响到后来很多电影，包括《瘦身男女》。

而电影关于外貌与内在、肤浅与内涵的创意也影响了后来者，如《丑女大翻身》、港剧《情人眼里高一D》（当然它当是受日剧《变身西装》启发，而《变》又或受《庸人》启发）。

以反差喜剧而言，这样的设定是OK，就像烂俗的男女变身一样，反差越大笑点越容易做。

不过本片笑点不多，能让人大笑的也就三五处，女主跳水那段笑死了，简直是无厘头神上身，结尾和女庸人的亲热，女主反抱男主都是亮点。

女主的名字Rosemary让我想到何韵诗那首《露丝玛莉》。

有的话请联系我，，我想买或者麻烦好心人共享一下因为我特喜欢里面一首歌This Is My World，，Darius Rucker 唱的，，谢了。。

在我看来，这又是一部童话了，不过显然导演想要表达更为现实的意义，所以在片子最后，始终没有让女主角按常规减肥变美丽………………心理医生如同传说中的仙女一般，让灰姑娘变成了公主，只是魔法换成了催眠，施法对象变成了男方，可这确实也没有阻止美丽故事的继续，因为心灵的魅力确实是外表无法弥补的，一如既往，告诉你，那些涂脂抹粉的美女，可能其实才是干枯腐朽的灵魂只可惜导演还是没走出定势的思维，心灵的美丽，依旧需要梦幻般容貌来吸引别人来看到内心…………但如果真直接用心灵打动别人，那估计，一个电影的长度，是远远不够的