情人眼里出西施

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。。

记得以前看过还评分过。

今再看，依旧带感。

喜剧的外衣，却传达着真善美，轻松地跟着情节转变和发现可以试着脱离对感官追求的外在去体会内心美好。

当哈尔在医院看到烧伤的小女孩的really面貌时怔住思考的表情，随之感动到眼眶和心一热。

影片配的流行乐轻快愉悦，还有片尾关于制止团队的镜头真的很棒！

闻一闻，女人的味道就出来了。

《闻香识女人》里失明的弗兰克中校比算命先生神奇，对于他，香水的味道就是一个女人从内到外可以被识别的标签。

跑一跑，爱情就被追回来了。

《胖男孩快跑》里的丹尼斯也属奇人，抛妻是他赛跑的终点。

没想到，地球是圆的，跑道也是圆的，倒着跑，有勇气，有诚意，一切皆有可能。

看一看，爱情竟然飞走了。

《庸人哈尔》里的哈尔从没怀疑过父亲灌输给他的泡妞法则，女人是给人看的，漂亮的脸蛋儿，性感的腰身，这就是光与水，缺了哪一样，都不能让哈尔的荷尔蒙在爱情的花圃生根发芽。

我说哈尔走了狗屎运，还能被催眠新生。

要我主宰他的命运，直接把他打入光棍儿无期的行列。

话又说话来，肥妹也是个不错的礼物，哈尔两个豆大的眼珠也需考验，能不能把肥妹壮观的体积装进去不是个小工程。

皆大欢喜就是‘屎尿屁’喜剧的门脸灯箱，直接的生理反应还是顺流而下比较好，我喜欢这般诚实的撒谎方式，你好、我好、大家都好，没什么不好的。

当然，爱情还是需要美观的包装袋。

最终肥妹减肥成功，哈尔也让自己的梦想与现实成功接轨。

所以，“看”是个双刃剑，感觉爱情似乎更保险。

接下来，我要总结的才是此片随笔的中心思想，找来《庸人哈尔》的原声大碟，找个恰当无聊的时间来谋杀寂寞，可能会有惊喜哦。

《庸人哈尔》的音乐原声大碟。

13首曲目：1 Wall In Your Herart - Shelby Lynne 2 Good Fortune - PJ HARVEY 3 Members Only - Sheryl Crow 4 Sweet Mistakes - Ellis Paul 5 Afterlife - Rosey 6 Baby, Now That I've Found You - The Foundations 7 Love Grpws (Where My Rosemary Goes) - Edison Lighthouse8 Summer Days - Phoenix 9 After The Gold Rush - Neil Young 10 Lonely Girls - Lucinda Williams 11 Countryside With You - Randy Weeks 12 Going Going Gone - Paloalto 13 This Is My World - Darius Rucker注：特别推荐Jack Black 的歌曲 forbidden nectar 也很棒。

Before I have watched Shallow Hal, I didn't like Jack Black that mcuh, but now, I think I start liking him. Shallow Hal is this is kind of film, that you can have a good laugh about it while watching it, at the same time, there is something in it, it's not simply a comedy. Hal and Rosemary are back to together in the end, but this time, Rosemary 's appearance is fat and ugly. This time, Shallow really does just look at the inner beauty of someone. But on the other side, Hal isn't one of the most successful people in the world, either. It's not the story of beauty and the beast, although compare to Rosemary he is so much better. After watching this film, I realized how hard is to judge a person without looking at how he/she looks like. I admit, I wouldn't want to go out someone like Rosemary, doesn't matter how nice she is. But I will try, try to only look at people's soul, only people's inner beauty.

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。

）

蛮精彩的电影,情节进行的很自然...总感觉没有什么可讲的,却又蛮自然的过了两个小时催眠在开始不久就上演了还是蛮紧张,被唤醒之后的情节,至身其中,如果我是导演,该怎样进行?没有什么新意,也就是这个样子男主角的面部还是蛮可以的,如果银幕只停留在他的上半身,还是可以撑住场面的与别人站在一起,黯然失色.人类是有面孔识别的,进化出这个东西是为了干什么呢最主要的是认清身边的朋友或者什么的,标记一下而已理论上来讲,美丑应该都也还好吧就又用相由心生来说服自己当看过了那些孩子,对相由心生,是一个致命的冲击可是还是愿意相信相由心生,在大部分时候都成立,反例就认为太极端对于体态,似乎还是正常一些好吧不要影响行动在影视中,清醒的时候,似乎还是认定了美的标准考虑这些深入的问题,真蛋疼,不会有结果的

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。

这个电影居然感动到我，我想我们都很shallow，而且有时是skin deep shallow，尤其是男人，我想这是无法改变的，这是存在我们基因深处的。

有几个疑问提出1.Rosemarry的这些性格和行为，是在她的美女前提下才显得如此可爱，她因为自卑的害羞，她食量超大，她坐塌餐厅的椅子，她跳入游泳池中溅起的水花把小男孩冲上树杈。

正因为在Hal眼中她是个hottie是个身材高挑性感迷人的辣妹，所以以上几点都变成了可爱，试想一下如果她是以肥如母牛的nottie样子出现，Hal恐怕避之唯恐不及，哪里会勇敢的去和嘲笑她的两个男人理论，哪里会夸奖她能吃real meal是人生的一大乐趣。

他恐怕只会觉得尴尬和被羞耻了吧。

2.Hal的邻居Jill，在Hal被“施咒”之后，在Hal眼里没有变化，那是不是说明Jill是个美貌加心灵美的集合？

那在一个外表性感心灵也美的人面前，Hal为什么要这么极端的选择小肥妞呢。

两全其美不是更好的选择吗。

3.为什么影片中的好人都是丑的呢。

相由心生，心善的人都应该比恶人要长的顺眼吧。

很早以前我问过某人，我问他如果我长的丑你也还会喜欢我吗。

他回答说，如果刚认识你的时候你长的丑我当然不会喜欢你，但是如果现在你变丑了，我仍然爱你。

我想这才是最诚实的答案。

我遇见的你时候，你的外表至少要是我的菜，我可以因为你貌美而爱你，但是当我真正爱上你之后，我不介意你容颜的改变，我不介意你因为岁月的流逝而变得苍老甚至难看。

真正的爱情如何开始并不重要，重要的是如何结尾。

只要是至死不渝的爱情都值得被歌颂。

——哈尔，我对你没兴趣。

——那又怎样？

约会的人都互相吸引吗？

——至少开始时是如此。

——得了，那只是新世代屁话。

有些人一开始虽然有些火花，但多数人是后来才彼此吸引。

哈尔，就算以后不连络，今天还是很谢谢你。

——怎么欣赏陌生女子内在美？

——有心去找，不难见到的。

——可是后来怎么还是感觉不到……——所谓脑中所见乃心中之感受。

——不，我让萝丝玛丽现出原形。

其中有段落差，叫做"事实"。

——如果看得到、听得到、闻得到，跟事实又有何差异？

——第三者的观感，别人也同意才是事实。

——好吧，回答我，谁是你此生的最爱？

——神奇女郎。

——假设神奇女郎爱上你，别人不觉得她美，有差吗？

——没有，因为别人错了。

——这就是我跟萝丝玛丽的状况！

心中有美女，我管别人怎么想。

我没这样想过。

你知道吗？

每个男人一生中有几次机会，了不起二、三次面临真正的抉择。

走这边，他可以继续跟女人混。

走那边，他就得忠于一个女人，或许就这么从一而终了。

走第二条路好像损失不小，但，事实是报酬更多，更幸福。

我也承认我是外貌协会的，这一点也不过份，不考虑其他，谁不希望自己的男友风度翩翩、英俊潇洒！

如果又有钱多金，那当然是更好！

但我更希望这个人可以和我有很多的说不完的话题，有很多的不谋而合的惊喜，知道我的优缺点，接受能接受的，可以指出我无知幼稚的地方，耐心的指导我一些不成熟的想法；我希望他能弥补我的情商、智商；内心强大一点点，尊重我一点，在我是他女友的前提下，先把我当成一个知心的朋友。

相比这些，外貌，就不是那么重要了！

人与人之间，最主要的，不是相处的开心么