"Rattigan himself, however, said that his prime concern was “the illogicality of passion” and that comes across beautifully in McCrory’s performance. Left alone, she paces her room in moody silence. In the presence of Freddie, even after her aborted suicide, she becomes a different woman. McCrory’s features blaze like a city in illumination. I’ve seen many fine Hesters but few who have conveyed so clearly what Shakespeare called “the very wrath of love”. (Michael Billington)
重看了三部曲按顺序是个"He's the ONE — He's NOT the ONLY one — He's the ONLY ONE"的过程肉蒲团其实第三部对世界观的完善不可谓不完美对抗双方的宿命往往是各退一步的妥协但方式上太神棍:感官刺激仅仅是为了感官刺激本身而存在时就失去了本应有的重量而那么多明晃晃的符号生生把前两部隐藏的宗教色彩暴露个一干二净