橘衫男子

爷孙两代身为同性恋在不同时代的生活方式 不管是战争时代通奸的忐忑 还是现代泄欲过后的空洞感 在同性恋题材里并没有什么新鲜感 世俗的描述了同性恋对肉体的饥渴 总体来说就是脏 之后更是系统性的男主被救赎 狗改不了吃屎 blah blah 两个故事爷爷辈塑造的是懦弱没勇气追寻真爱 孙子辈就是填补这个缺口 因为时代接受度的关系 孙子尽力去挽回 可是挽回这一点体现得太薄弱 仅仅因为一封信就原谅 太戏剧化了 信任垮了之后可不是这么简单就能弥补得回来的 人物塑造孙子长着一张可人脸 每次打完炮 恶心自己的行为 缺停止不了 然而演技却缺火候 黑哥哥是个神奇的存在 黑人选角是暗喻时代在进步人人平等 西方片一贯喜欢走这种圣母风 但是角色的戏剧背景确实很恰当 一个被救赎过的人 在一段开放式的关系中选择去救赎另外一个深陷肉欲沼泽的需要被救赎的人 可怜的是婆婆忍受同妻之苦 无人与之诉说 还要迫于时代接受自己的孙子是同性恋 爱是伟大的 在那背后的苦楚也是无法体会的 同性恋是该被接受 或是正常的行为 这种论证 在不同时代有不同的认可 说着是简单 有道理 每个人有自由爱与被爱的权利 但是每个人也有接受或者不接受的权利 所以对于恐同 或者 同性恋 都是正常的行为 没有一味的必要非要强迫一者接受另一者 只要是不是过线侵犯人权

BBC还是老大哥啊，腐国真的太会了，用爷爷的信挽回孙子的恋人哈哈哈，两个故事拍的都很棒，看多了有时候不禁感慨如果从一开始就不把同性看做是变态扭曲的，不对的，也就没这么多悲剧。

迈克和托马斯的恋情在那个年代是有蹲监狱的风险的，多少同妻的悲剧产生，晚年的Flora说自己毁了两个人的感情，Adam说 they hurt you too,是啊，他们三个都是那个时代的悲剧。

第二个故事很喜欢steve和Adam第一次到小屋的那段吻戏，Adam本就对Steve心生情愫，在Steve说 do you mind kissing me后整个画面静止了，仿佛Adam的心跳骤停了一瞬一样。

Steve是温柔的，Adam是热情的，Adam仿佛不会爱人，过往的生活里只充斥着约炮的sex，而Steve想要的不止于sex，he want more。

他爱Adam以至于不想和别人分享他，

之于我而言，看见某种感情的时候我会表现出很羡慕ta们，不论是女生之间的友情，男生之间的友情，还是亲情，爱情。

当我羡慕的时候，羡慕着他们给彼此的关怀，给彼此的眼神，给彼此微笑的纵容，羡慕ta们感情里有的，而我从未享受过，或者只享受过，在以往的时光里的样子。

如果让你第一眼看见男女之分，那不是羡慕，那是审视，是居高临下的得不到。

你得不到，便不断地压制，压制着正在冲散自己人生既定旅途的别样风景，这时，这段既定旅途便成为灰尘，始终蒙蔽的你的眼睛，再也看不见凌厉的风光。

漫长时间里，时间不会说社会体制如何选择，社会的存在就是需要限制，但自己为人不曾和ta人有任何区别。

那你又怎么称得上自己呢。

并不是说罪恶的不同，那种不同，无论原因都是你本身的过错，可本身限制过后剩下那仅存的自己的人生，你还在留意吗？

因为仅存的自己，会看见有些很少人做的事情，它不是错误的宣言，是很少人的挣扎。

人的自由就在于挣扎，婚姻的存在也是找到自我的挣扎，什么时候都不是牢笼。

在仅存的自己里，你的理智和你的正直只跟你有关系，那是你的东西，什么时候都不用其他人看着，扒开伤口，用淋漓的鲜血证明。

当错误存在并作为正方控诉的时候，作为被告并没有伤害他人，难道就要认下罪责，不做丝毫反抗。

请不要这样牺牲自由救赎不是自己的自己。

努力挣扎，因为有更高位的存在就有不平等的时候，也就有真正的审判。

在情感里，请你正直的对待自己。

爱从不萦绕在脑海里，是在生命的旅途里，增加另一位狂欢者。

和你耳鬓厮磨，乃至于在没有生离，只有死别后的，最后一次碰杯时，你我的互道爱意。

千万不要让遗憾成为汪洋大海，淹没了情里所有的城。

很压抑。

开头就来的很热火，只看了第一集。

我最心疼里面两个妈妈。

Thomas 妈妈很心疼希望他们能过得好，女主妈妈是真的可怜...Berryman 这个名字很帅了，情节太简单了吧…………。

现在看了第二集..第二集颜值下降很厉害，黑白搭配，为什么老奶奶这么自责呢，我发现这部剧很喜欢用err ，bloody xxx，miles away

一个家庭串联起的，祖孙两代人，外公，外孙所处时代相隔60年的两对同性情侣的爱情故事，反映了英国社会对同志看法的时代变迁。

二战期间军人迈克尔与画家托马斯在意大利战场相逢，二人发展出一段难以割舍的恋情。

战争结束后，迈克尔首先找到托马斯，二人再续前缘。

然而，迫于当时的社会压力，迈克尔选择与自己的未婚妻芙洛拉完婚，而托马斯作为伴郎，送给他们一幅自己绘制的两个人曾度过难忘二人世界的乡间小屋油画作贺礼。

托马斯难忘旧情，沉沦中光顾同性聚会场所，最终因同性恋罪入狱。

迈克尔艰难地适应并维持着婚姻。

芙洛拉发现了托马斯给迈克尔的情书，发现了真相，两个人选择了忍受和接受现实。

迈克尔去监狱看望托马斯，并在托马斯出狱时来到监狱门口，却因看到一众迎接托马斯的那些朋友而选择了隐退。

迈克尔在压抑中甚至想过打碎身上的枷锁，因为他知道自己深深地爱着托马斯。

儿子逐渐长大，一家三口在商场遇到托马斯，面对现实，迈克尔和托马斯选择了再见。

时光到了几十年以后，寡居的芙洛拉和孙子亚当相依为命。

亚当是个兽医，一直不敢向外婆坦白自己，不断约会。

遇到设计师史蒂夫，互生情愫，但亚当又控制不住自己那颗不安分的心。

2017年，年迈寡居的芙洛拉将当年那栋乡间小屋送给了孙子亚当。

史蒂夫主动说要改造小屋，但是对亚当的不钟情很失望，自己住在了小屋。

亚当出柜，和外婆发生激烈争吵，跑到了小屋找史蒂夫。

芙洛拉赶到小屋，发现亚当和建筑师史蒂夫的感情，最终选择了祝福。

亚当在打扫卫生时，看到了当年那幅托马斯绘制的乡间小屋。

史蒂夫发现了画框的秘密——里面还藏着另一幅手绘，画的正是身着橘色衣衫的迈克尔。

痛不欲生的芙洛拉终于把当年的故事告诉了亚当，并给他看了那封未寄出的信。

亚当和史蒂夫互相珍惜对方，结成良缘。

本剧讲述的是一个二战背景的同志故事，同时延伸到现代的一对同志恋人，以一副橘衫男孩的画作，将两个世纪的同志爱情串联在一起，展现了不同时代的同志恋情所面临的不同挑战。

颜值和肉都是值得一看的四个男主角，颜值演技均在线，朱利安 莫里斯，奥利佛杰森科恩，都是秀色可餐的可人儿，每一个镜头都散发着浓浓的雄性荷尔蒙气息。

鲜活的肉体，豆娘能给过吗一、无法容身的爱欲米歇尔和贝茨在二战中相识，简直一见钟情，天雷勾动地火，贝茨更是心机boy，去树下尿尿，然后借口说受伤杵着拐杖没法把裤子拉链拉上，就让米歇尔帮忙。

这套路使得好。

结果米歇尔就这样被勾搭上了，两个人刚尿完就啃上了。

猝不及防，一口狗粮二战时期的英国，同性恋是被当做重罪来处以刑罚的，米歇尔为了活成普通人，不得不跟贝茨分手，和爱慕自己多年的洛芙拉结婚，并生下小孩，这一切就是悲剧的开始，说多都是泪... ...

林间小屋的甜蜜苦命的贝茨，还要去当伴郎，内心崩溃指数可想而知。

谁要做伴郎啊？

我要做新郎！

二、无处释放的情欲这可怜的两个人，一个拼命躲，一个放肆追，结果是两败俱伤，贝茨因为和其他人乱搞，被警察抓紧监牢，判刑多年。

就在米歇尔决定唯爱付出一切，等贝茨出狱就和他远走高飞的时候，他却犹豫了。

看得人揪心不已，为何不能放开所有的成见勇敢地去爱一次呢！

三、无法满足的肉欲第二集，故事背景已经到了现代，信息技术发达，时代进步，同性婚姻已经受到法律保护。

困扰着同志的，却是自身的情感迷失。

各类约炮软件，各种轻而易举的速食性爱，让亚当深陷性瘾的泥潭无法自拔。

他无法面对自己对爱情的真实想法，整日沉迷于不同人的卧床之上，享受着床笫之欢。

内心对爱的渴望，却又迷茫到苦痛不已。

一个执着，一个迷惘，总有人要受伤遇到设计师斯蒂夫后，人生开始转折，想要停下来，追求内心的平静和爱情，但是肉欲在作祟，性瘾在骚动，折磨着两个人，考验着彼此的感情。

电影里被油画凝固的美好瞬间，可惜终究会逝去这部卡斯阵容算不得豪华的迷你剧，代表了近年来同志剧集的整体走向，越来越精准化，风格化。

在宣泄情绪的同时，兼顾人文关照，把历史和现今相结合，融合得不露痕迹。

集体亮相，是否很养眼呢？

墙裂建议各位基友去观摩一下这两对同志恋人的情感纠葛，感受历史的纵深感，和现代性碰撞的奇妙火花。

Adam最终把那幅内附“橘衫男子”的vintage的油画从尘封多年的柜子中取出，揭开完好无损的包装，那幅别墅的油画显现出来，上面落满了灰尘。

俨然一个世纪了，两代人，一幢房子，一幅画。

十分英伦典雅，就像一部浪漫的诗篇，隐忍且恻隐。

处处散发着一种厚重感，这是整部剧给我的直观感受。

像一瓶酒，时间愈长，却愈发的vintage. 代际之间的生存状态，并没有好多少。

旧时代你可能遇到你所珍重的人，却囿于时代背景，甚至一别就很难相见了。

当代，人们渴望通过社交软件，表面热络，实际更是缺乏安全感与依靠。

投入心思地去爱一个人变得困难，“上床”文化快餐文化的流行，依旧过不好这一生。

有时候在夜里惊醒，望着黑洞洞的四下。

站在马路中央，不知去往何处。

之前看到有人写的短评“爱要放在历史的大背景下才好看，爱要从对立中产生才好看，爱要爱上不能爱的人才好看，爱要在世俗的压力下爱着才好看........爱是世上最美的事物，却要面目全非才好看” Michael和Thomas让人惋惜，当那幅cottage油画下的“橘衫男子”被缓缓取出，眼泪几乎夺眶而出。

Thomas至始至终，都是勇敢的那一个，敢于表达自己，也不在意世俗的眼光。

Michael如果再勇敢一点，再勇敢一点，哪怕迈出那一步，拿着前往法国的票，拽着Thomas的手就跑，或者把那封信投出去。

那么会不会都会不一样呢。

有缺憾总是美好的，所有有普世价值的都是悲剧。

人处在每一种社会关系里都会被绑上标签，所以有时候干脆不扯上那么多关系，那么多身份，也不会那么容易被道德绑架。

少一份责任，多一份坦然，就像《断背山》中那样，都是缺憾。

一方都在努力想要维持这段关系，另一方则拿不出勇气，或是随世俗。

就觉得，be abnormal，be yourself.未尝不是一件光明磊落的事吧。

两集各自有不同想传达的内容，且都有普世价值。

何止同性，饮食男女，人世间的很多问题。

不都是需要一丝丝勇敢和一点点敢忤逆世俗的力气。

我知道这很童话，却很肺腑。

当Michael的love.letter伴随深情的语音在画面上呈现。

那些过往与想象。

那些发生的与没发生的。

甜蜜与痛苦的。

do the chores together “making toast，raking leaves，sitting in silence” 时代的灰尘降落到每个人的身上，就是一座大山。

那一字一句，落在信笺上，不长不短，便是一生。

总共两集，第一集四星保底，可给五星；第二集两星半，不能再高。

第一集甘如饴蜜，第二集毒若砒霜，看得我实在生气。

气头上我又把这两集多看了两遍，第二集越看越气。

第二集的Adam港真，我起初也是慕颜来看剧。

毕竟Julian Morris长相俊俏、胸大臀圆，随手来张短发或寸头的街拍都是妥妥的美人一个，搭配小胡渣的黑白（半裸）硬照更是性感到诱惑。

导演深谙Julian的最佳拍摄角度，但Adam这个角色是真不行。

除了串场以外，Adam不是在手机上约炮，就是在现实中打炮。

为了满足观众的期望，Adam连续解锁了被后入、后入、深喉吹箫、口爆、抓裆等几种技巧，人设明摆着是性瘾者+性滥交者。

同时，尽管所谓的前女友Claudie知道他的性取向，Adam显然是深柜——不仅从他和Flora的争吵中得知他从未出柜，在朋友聚会上别人听闻他是gay时，他的反应更是有些迟疑和尴尬。

而每次打完炮的那个洗着澡的Adam疯狂擦拭左上臂的特写镜头，用意何在？

想表现Adam的性取向认同障碍或对自身无法控制的性瘾的强烈排斥？

总之，观众在第二集男主（实打实的渣男）Adam身上看不出一点可取之处，对Steve会爱上Adam感到不解，更无法对他们的爱情火花产生共鸣。

第二集的Adam+Steve第二集的主线是Adam和Steve如何走到一起，剧情发展却完全放弃了最基本的合理性：Adam想上客人Steve—>Adam主动送货上门企图打炮（后续片段说明骨灰盒一般是电话通知客人前来领走）—>Adam被Steve伴侣赶走—>Adam借装修名义再次勾搭—>Steve忽然想吻他—>Adam忽然抓Steve裆想打炮被拒—>Adam手机约炮成功—>Adam因滥交忽然和祖母吵架—>Adam离家出走酒吧约炮被三连拒—>Adam忽然路边被迫吹箫+口爆（吐了一地）—>Adam身心受创找Steve抱抱—>Steve忽然次日说要厮守终生—>Steve回家和伴侣分手—>Adam+前女友/Steve+前伴侣聚餐，祖母忽然来和解—>Adam当晚手机约炮被发现（这有多渣）—>Adam被分手找祖母—>Steve读了祖父的情书忽然和好上述故事逻辑只能用“为所欲为”来形容。

Adam和Steve爱得毫无来由，整整一个小时没有一处情感上的铺垫，说吻就吻，说上就上，说厮守就厮守，说复合就复合，编剧看太多琼瑶剧了吧？

他们的对话本来就不多，零星的交流中完全体现不出一点"Why I will / shall love you”的苗头。

如果不信，我先把Adam和Steve的对话一一罗列如下（纯手打，难免有错）：Adam: 19's a good age, but her heart's given out. We should put her to sleep to spare her suffering.Steve: I hadn't realized how long I'd...Adam: Do you need a moment?Steve: No, it's fine.Adam: I hadn't expected to... Bloody cat! You know, she resented me from the start... I am sorry.Adam: Hello?Steve: You can't leave them there. Adam: Oh, hi.Steve: Caspar would have a fit.Adam: Sorry, I... I just thought I could drop off Myra's ashes, er, on my way home. I thought the box was quite nice.Steve: Yes, but it's not Biedermeier. Caspar's been known to change hotels if the carpet upsets him.Adam: Er, what are you working on? （我来调情了）Steve: A redesign of a perfect flat in Limehouse. All my work gets undone. I mean, if you heal a dog, right, it stays healed.Adam: Er, unhappy people can have persistently unhappy pets. So you are an architect?Steve: No, erm... Caspar swept me off my feet before I qualified.Adam: (stepped forward) This place is really quite nice. （这里不错，要不我们……）Caspar: Your ten-minute call. （滚吧你，还想在我家吊我凯子？

）Steve: I am sorry, erm...Steve: So, they never actually put central heating in, which is amazing! There's a proper hole in one of the bedroom floors.Adam: I should probably just sell it, as it is.Steve: No, no, no, it's brilliant. You just have to dig past all the crap. You... You can't sell. You're not seeing it. Oh... So, erm, was it like your parents' weekend cottage, or...?Adam: No, we never came here. Perhaps Flora did before she let it, but I really don't know.Steve: Right, who's... who's Flora?Adam: Oh, my grandma. Christ. All this depressing junk! Oh, that's nice!Steve: You see?(Adam is peeing in the bush)Steve: I'd really really like to do a job like this, Adam. It's like working on a site with my brothers when I was growing up. The whole hands-on... I'm bored of tarting up kitchens.（这里给出了Steve并非为了上Adam而去装修小别墅的事实）Adam: What would Caspar think of you working outside of London?Steve: Well, we're not joined at the hip and, er, and he's in Brighton with his latest app-squeeze.（squeeze有个informal的名词用法指代男女朋友，他在Brighton的新炮友那儿呢）Adam: Oh, really?Steve: Yeah.Adam: You don't mind?Steve: I don't own him.（我对他没有占有欲）(After a while)Adam: What?Steve: Do you mind kissing me?（这句话莫名其妙，Steve索取同情之吻？

）(Adam hesitated, just face touching)Steve: Am I, er, am I barking up the wrong tree?（我以为你是gay呢，难道你不是？

）Adam: No. No.（我是gay，我是gay，那我亲了哈，是你主动的哦）(Kissing)Steve: Oh.（这么猴急？

）Adam: What?（摸你裆有什么问题吗？

）Steve: Well, it's not a porn film. I... Listen, Adam, there's a person in these jeans, OK?（我不是公交车，有问题？

）Adam: I can't. I can't. This is... I'm sorry. （我有性瘾，我控制不了，我做不到只亲嘴不动手）(In the car)Steve: Sorry. Did I misread...?（你为什么脸黑成这样？

）Adam: I should sell the place. It's such a lot of work.（我就不该钓你上钩，不给上太难受了）Steve: Oh, okay. I'll make my own way from here.（得咧，惹不起，爸爸要下车）Adam: Really?（你生气了？

）Steve: Yeah.（爸爸不要你了）Adam: I'll pay for your time.（别气啊，我拿我爸爸的钱赔你）Steve: Whatever.（拉倒吧，爸爸不缺钱）Adam: I'll wait.（这句话也莫名其妙，唯一的解释是Adam说要等Steve的设计稿，又和前面几句衔接不上）Steve: Look, I know you want to sell, but I couldn't stop thinking of all you could do there. Can I show you?Adam: Emm, we've a backlog from this morning. I finish at five. Erm, er... There's a cafe down the street.（哈，这小子主动上钩了）(In the cafe)Steve: I wasn't sure you'd come.Adam: I owe you an apology. For the weekend. I...Steve: It doesn't matter. It was my fault. I... Anyway... Do what you like with these. May even help you to sell it if you can get someone to see past the hideous wallpaper... I'm talking too much. Sorry. I'll shut up.（再次呼应Steve的确只是因为装修小别墅更有趣而来的事实）Adam: These are beautiful. Seriously.Steve: Thank you.Adam: I was a prat on Sunday. I'm not used to, erm... You know.（你懂的，谁亲完不给上啊）Steve: No, but...Adam: Er, thanks for doing these. I don't know what I want to do with the cottage, but I should pay you.Steve: That's fine. Erm... They are a present. Call me, er... if you change your mind, or whatever.Steve: Hey, boss.Adam: Someone's happy.Steve: Like you wouldn't believe! I'm not redesigning another high-end kitchen. I'm in heaven! So... You skiving?（第三次澄清Steve真的别无居心）Adam: Saturday surgery is only short and they owe me so much leave.（我特地翘班来钓你）Steve: Good.(Inside the cottage)Steve: Mr Popular. Trust me. Living with Caspar, I could write a thesis on sex addiction.（哇，你又要去打炮了）Adam: So... was your dad tough on you?（这对话谁写的，这么大的弯都能转？

）Steve: Erm, let's just say his model of masculinity wasn't exactly Lord Berners. You've no idea who that is.Adam: No.Steve: Just tell me that you can't explain the offside rule.Adam: If you're closer to your opponents' goal line than both the ball and... I so had you there.Steve: Bitch!(Outside the cottage)Adam: If beds could talk, eh?Steve: I'm sure this had a quiet and blameless life.Adam: It's getting late. I should go.（我很有自知之明的，留下来你又不肯让我睡）Steve: Well, I got a lot more done with you here, so... It's only Sunday tomorrow. Or do you have a hot date? That old sofa, erm, folds out into a bed, of sorts.(Saturday dinner)Adam: Oh, this is so good. How did you...?Steve: Pepper, salt, lemon... It's just steak!Adam: Do you both cook? What?Steve: Sorry. Erm, yes, we both enjoy cooking when we're in. We go out... A lot.Adam: Do you mind me asking you all these questions? I never get a chance to...Steve: Stick around long enough to make conversation? I'm sorry. That was mean. Erm, you're not even out, are you? I bet you've still not told you granny.（你一般射完就走？

）Adam: Oh, Flora is so not a granny. Not in so many words, she's... She's never invited confidences.Steve: And you're scared she'd...Adam: I, erm... I-I-I don't know. Is that rain?Steve: No.Adam: This is nice.Steve: Yeah.(Sunday)Adam: Steve.Steve: Yeah?Adam: It's a picture.Steve: Yeah. No. Erm, you have grease on your hands. You're better off just blowing. Close your eyes. One, two, three. Wow!(Sunday late night)Adam: Hey, I... I'm sorry. I didn't know where else to go. I-I had a huge row with... and then I... I'm sorry.Steve: It's your place.Adam: God, I must stink. I need a shower. I-I-I left a message at work. I've taken tomorrow off. I'm sorry for waking you.（Adam为什么要告诉Steve明天不上班呢？

）Steve: Even the shower is not working.Adam: Oh, shit.Steve: New pump comes tomorrow.Adam: Yeah, the sink is fine. Just go to bed.Steve: Have you...?Adam: Go to bed.(After a while)Steve: It's OK.Adam: It's not OK.Steve: It'll be OK. Here. Don't you want to talk?Adam: I wouldn't know where to start.（这句台词小本本记下来）Steve: OK.Adam: Bloody hell! I'm sorry. I...Steve: Shh, shh.Adam: I don't think I can. Could you just hold me... Until I sleep?Steve: Sure. Sure.(Monday morning)Adam: So what happens now?（虽然昨晚没上床，但我们现在搂成这样算什么？

）Steve: I want you. But I'm going to have to tell him. I don't do casual. I-I can't do app sex. I need more.（你是我的，我这就回家和他拜拜）Adam: OK.Steve: No, really. I can't share you.Adam: Look. Deleted it.(Cuddling)Adam: It's just going to feel weird me... me paying you...Steve: No. You're just humping the help. I will tell you when it gets weird.Adam: Yeah?Adam: I wish I would have known him. Oh, thank you. Could you ever imagine...Steve: What?Adam: Having kids with me?Steve: I so could. I got so broody today with those twins around.Adam: Me, too. Thanks for making today so special.Steve: Teamwork.(Phong sounding)Adam: I'm so sorry. It's just I...（哎呀，偷吃不成）Steve: Wished you'd left it on silent?Adam: I did delete it.（我有卸载给你看了啊……）Steve: Yeah, but then you put it...（所以你想背着我偷吃）Adam: Steve, it's a habit. I didn't... I haven't...（还没和他们大战呢，精神出轨不算出轨）Steve: OK.Adam: Steve? Steve! Hey, Steve. Come on! Steve!Adam起初对Steve只有打一炮的想法（因为第一次吻Steve就上手抓裆）。

第二集末尾那句“I have never been so happy in my life”远不足以让人信服Adam对Steve存在真爱，更像是编剧写到最后良心发现、赶紧蹭句台词解答一下。

剧中对Adam从想上Steve到不止想上Steve这两个阶段的转变表述得模糊不清，几乎是下定义式的推进。

至于Steve对Adam那迅雷不及掩耳之势的霸道总裁式“I want you”的爱，一句白开水般的“save him from himself”根本站不住脚，编剧掩耳盗铃似地跳过了Why save him和Why he needs to be saved这两个必不可少且难以描述的前情。

借助旁白输出一堆Why是一种投机取巧、效果不佳、令人反感、但有胜于无的展开方法，然而编剧心安理得甩给观众，大吼一声——你们自己imagine！

诚然，文学创作需要留有想象空间，但留白需要有迹可循的合理性。

第二集这种做法，是赤裸裸的偷懒、活生生的耍流氓。

我读了无数遍上述Adam和Steve的所有对话，只发现（1）Why Steve makes Adam happier的答案是——Flora's never invited confidences. Adam never gets a chance to make conversation——Flora这人没办法分享秘密，Adam内心太憋屈了；（2）Why save Adam和Why Adam needs to be saved的答案是——He is so inexperienced——Adam这人太稚嫩了，还跟个孩子似的，需要呵护。

瞧，这编剧难道不是在下定义？

Adam你太惨了（有多惨呢？

不知道），Steve被人save过（咋个save法呢？

不知道），现在想save下Adam（为什么要save呢？

Adam不就没人谈心吗？

为什么还要和他上床呢？

），（反正剧情需要）他俩就得一起……Adam的惨、Adam感到更开心、Steve觉得Adam惨、Steve觉得Adam需要拯救，这些是角色的主观感受。

如果想让观众有代入感，以具体情节为媒介的针对角色转变所涉及的这些主观感受的阐述是不可或缺的，露胸露臀则次之再次之（虽然我爱看）。

逻辑古怪的毛病同样存在于Steve这人身上——（1）如果Steve觉得Adam像个inexperienced的无处诉衷肠的委屈孩子，想要save他，当个好朋友、常听他吐露心声不就好了吗？

如果还想save他的性瘾，乐意上的时候就助人为乐呗，非得“我不喜欢约炮，你也不准约”？

为什么Caspar可以约？

因为和Caspar是open relationship？

为什么和Adam不能open？

为什么对Adam就得I can't share you？

（编剧你出来解释一下？

）这不叫为了save Adam的大爱，这叫对Adam的绝对占有欲；（2）Michael那封信是感动了很多人（包括我），但不代表Steve看完祖父的信立马对他孙子回心转意这种桥段不魔幻现实主义；（3）正因为编剧在Adam身心受创之前没有给出任何Steve对Adam存在明显爱意的伏笔，导致Steve在次日直接扔下“I want you”和“I can't share you”这种话时，难逃趁虚而入之嫌。

恋爱关系或许可以粗略分为三种类型：强强组合（惺惺相惜）、弱弱组合（抱团取暖）、强弱组合（各取所需）。

我不反对编剧把Adam塑造成心理脆弱、亟待呵护的三十四岁中年小孩子，也不反对Steve想要拯救他人的保护欲（和占有欲）。

编剧显然也想把第二集刻画成第一集那种散文诗般的乡村恋曲，并试图“巧妙”借用相同的床戏发生地点（乡间小别墅）、相同的矛盾调和方式（Michael的信），将相隔六十年的两段爱情联动，更借助祖孙血缘关系，为此蒙上一种“巧合”的穿越色彩。

想法很好，但编剧在第二集的水平实在是狗尾续貂。

如果一小时不够展开，那就分成第二集、第三集，至少来龙去脉讲得清楚，靠一句结论立起来的人设只能薄如纸（你：我是一个xxx样的人……我：哦？

）第一集的Michael+Thomas相比之下，这一集的人物背景设置就相当讨喜，给出了两人相识多年、同生共死、感情深厚、并且Thomas暗恋Michael的假定。

所以，第一集的主线不是Michael和Thomas如何走到一起，而是Michael和Thomas如何没走到一起。

平心而论，讲述后者的确比讲述前者要轻松得多，因为后者天然存在一系列戏剧矛盾，前者未必。

前者如果不缺乏戏剧冲突，又学不来Richard Linklater在大篇幅对白电影中例如Before Sunrise的叙事技巧，就容易沦为逻辑九曲十八弯哪哪对不上、人物几乎没有形象的第二集那样。

第一集发生在二战后同性恋仍被定性为严重猥亵罪的英国。

从当下时代的视角去苛责当年有其深厚社会根源的Michael的同妻行为显然不恰当。

但Michael面对真爱来临时的过分怯懦乃至一再错过的遗憾仍值得我们深思。

本集的情节事实上很cliche，无非是鱼和熊掌不可兼得、于世俗压力下选择同妻从而辜负了他和她的同性片经典模式。

但它的高明之处在于，台词简洁到近乎吝啬，煽情之处已然罕见，矫情就更没有机会了。

导演没有打出Oliver Cohen这张尺度牌有点出人意料。

而对两人感情起伏变化的渲染也极为克制。

即使是爱人去意已决、准备娶妻生子时，所谓的口角也不过是三言两语；即使是监狱相见时，两人也刻意避开情绪碰撞，在平和的日常问候中隐藏悲伤的宣泄；即使是多年后重逢，两人也仅嘘寒问暖，友好告别。

但Michael对Thomas怀有的爱情仍可明辨，从结婚之后仍希望藉由伴郎+教父的双重身份继续与Thomas保持亲近（It's rather a good way to stay in touch with the people who matter）可见一二。

本集有个巧妙的小细节。

小学课堂上有人提问Patroclus和Achilles的关系，Flora说英雄之爱是超越了婚姻之爱的存在（Love between heroes is regarded as surpassing the love within marriage），这话不假。

而英雄之爱指的其实是两个不需要互相弥补的人之间的惺惺相惜，我认为Michael和Thomas便是如此。

第一集令人眼前一亮的，除了温和如溪流轻淌的叙事风格，除了一别两宽各自安好的收场，还有那封小巧动人的情信——My darling Thomas,I am at work. Nobody knows I am writing to you here.You refuse my visits, so you are probably tearing up my letters too. But there is nothing I can do but keep trying. It's beyond my control, do you see? All those months ago, when I had nothing to lose really, I wrote to you in my head but was too cowardly to set more than lies on paper, and now I find I no longer care.The love I feel for you runs through me like grain through wood. I love you, Thomas. I love you. Your face, your voice, your touch enter my mind at the least opportune moments, and I find I have no power to withstand them. No desire to.I want us to be together as we were in the cottage, only forever, not just a weekend. I want it to go on so long that it feels normal. I want to do all the ordinary, un-bedroomy things we never got around to doing - making toast, raking leaves, sitting in silence.I love you, Thomas. I've always loved you - I see that now. Tell me I'm not too late.流水的homo，铁打的Flora请了老戏骨Vanessa Redgrave出演老年Flora，结果编剧写了个烂故事，很让人可惜。

另外，作为上下两集绕不开的第一配角（这部迷你剧甚至不用换名字、以Flora的视角改写并探讨同性恋社会地位的发展现状都行得通），Flora竟然只在某张海报中的角落里冒个泡，也是令人震惊。

我和导演对这部剧的营销点的看法大相径庭，抛出一张大特写的Flora手捧《橘衫男子》那幅画的单人海报，岂不更深入人心？

至少也是如下的三人行配置吧……

严格来讲，Flora爱Michael，Michael也是爱Flora的。

只不过联姻完全建立在Michael对世俗眼光的畏惧罢了，毕竟新婚之夜Michael与Flora的房事都不如他与Thomas来得舒适自然。

在Thomas人间蒸发的三十年里，我们可以想象，Michael承担起家庭责任，当起了好丈夫和好爸爸，和Flora过着幸福快乐（没有Thomas）的生活。

但Flora的一生仍是一场可避免的人为悲剧。

至少她被剥夺了自由婚姻和自由生育的权利，就像她所愤慨的“I am expected to lie around bringing forth like some brood mare”和“I’m just a sister who happened to bear your child”。

不要妄提“揭发Michael”、“离婚”、“再婚”、“单亲妈妈”的建议，那时才二战刚结束。

且不提七十年前欧洲社会对离婚的偏见，也不提那会单亲妈妈试图再婚时的阻碍，“揭发Michael”这一条就被Flora本人否决了两次。

有人说是为了维持婚姻，但我坚持认为更因为她爱着Michael。

结婚前对婚姻有多期待，结婚后发现Thomas那一沓情信时的Flora就有多绝望，这是她对Michael的第一次信任危机。

对于她斥责同性恋是criminal和disgusting，我们必须抱着理解的心态，毕竟当时的全世界都恐同。

Flora因为此事对Michael发出的控诉，事实上只有临产夜这一回，此后她只是冷冷地警告他不要被别人举报入狱而已。

我很难想象一个妻子怀孕之后发现自己是同妻还能表现得如此冷静，Flora可是连摔盘子都做不出来的。

Flora对Michael的第二次信任危机，是当她以为Michael会因为孩子诞生而收敛时，Michael却以看牙医为由欺骗她、拿着护照去找Thomas私奔。

Michael去世后那封要私奔的信被发现不算第三次信任危机，只是她没想到原来这两个男人之间的爱，远远超出了自己当年的认知（不知她想起了Patroclus和Achilles没）。

Flora对Thomas的态度如何？

即使Flora对Thomas极其不待见甚至有明面上的厌恶，那也是情有可原、无可厚非的。

但她相当克制，尽力维持着社交礼节，上公交车时更是主动让Michael去安抚Thomas。

Flore简直是人间的天使了，但这丝毫不削减同妻现象在她一生中的悲剧色彩。

编剧在第二集最后让她落泪忏悔“I ruined both of their lives”的做法，我倒认为这很disgusting，因为Flora完全没有错。

有人会举出第二集那场祖孙之间的争吵作为反驳，那我还原下对话——Adam: Steve has a real vision for how we can...Flora: Now, doesn't he have a life in London?Adam: Er, no. Well, it's complicated. He has Caspar. Erm, an art dealer, but they're what Steve calls semidetached, so... I have to show you this. We found it in the cupboard. I thought it was really rather lovely, you know. It might have been...Flora: I don't remember that. It must have belonged to the Brewers.Adam: Well, it's addressed to you and Grandpa. "To Flora and Michael, In the hope the enclosed might one day hang in your drawing-room. —Thomas". Who was Thomas?Flora: Oh, he was a friend of your grandfather's. But we didn't like the picture and, erm, we put it away, chucked it out.Adam: Why did you just pretend that you...?（这两句对话的转折也很突兀，根据Flora的回答，Adam似乎在质疑祖父是gay，但剧情来讲，Adam是直到那幅《橘衫男子》出现才知道的）Flora: I can forgive. Hm... It's how you're made. I wish you would be discreet, but of course, that's my age. （这里有个很特别的词discreet，释义是marked by prudence or modesty and wise self-restraint，如果具体指代还不明确，看下面另一个词）Adam: What?Flora: You and the man.Adam: There's nothing between... There's nothing...（欲盖弥彰，Adam隐约对自身的性取向及无法控制的性瘾有羞耻感）Flora: Well, I never expected when I gave you the cottage that you'd turn it into somewhere that you'd bring your latest...Adam: Stop!Flora: Pick-up.（这个词太关键了，pick-up指的是a casual acquaintance often made in hope of sexual relationships，偶遇的以发生性关系为目的的人。

八十岁的Flora依旧不能完全接受同性恋，但此处她指责的是Adam的滥交。

她认为Adam在性行为上应该discreet）Adam: Just stop, right there.Flora: You're using your father's money...Adam: Just stop! I'm 34 years old. And I'm still hiding in your basement. Is it any wonder...? It's no business of yours who I fuck.（这里无头无尾，鬼知道34岁的人还住祖母地下室是为什么？

和同性恋/滥交有什么关系？

）Flora: I don't need to hear this.Adam: I'm sorry. Silly of me to forget that anything below the neck disgusts you! I mean, do you ever lost control?（这里的lost control不是指发脾气，而是丧失对性欲望的自制力）Flora: What do you mean?Adam: Well, did you ever need to give yourself...（这句话显然在说滥交，Adam在为滥交找借口，他推诿给生活缺乏激情）Flora: I loved your grandfather!（犀利反驳！

因为我爱你祖父，所以我不和别人上床）Adam: Yes, but passion!Flora: Yes! I loved him! With passion!（继续犀利反驳！

一生只爱一个人，也能充满激情）Adam: Shit! All right. You win. I've been ashamed... all my life. And I wonder why that was!（继续嘴硬为滥交找借口）Flora: Yes, you should be ashamed. Because it is terrible, it's disgusting to live with other people, as if you were animals.（按照逻辑连贯性，这里应该还是在说滥交；另外，无节制的见谁上谁、随意性交的行径难道不是很像animals吗？

从语法来看，这里other people也指的是一群people啊。

）Adam: Animals?Flora: Yes! Animals!（从编剧的角度来讲）这段争吵对第二集具有决定性意义：1）它作为转折点，Adam被祖母出柜，两人矛盾爆发，为祖母最终主动和好提供前提；2）它作为两个高潮之一（另一个是画下画），为后来Adam成为Steve心目中“需要拯救的受伤的孩子”作铺垫，（编剧认为）间接促成了Adam和Steve的恋情（呵呵呵）。

抛开几处逻辑不连贯的地方，细看下来，Flora表达的只是对Adam滥交的警醒，有何不对？

Flora的一句”It's how you're made“已经对Adam的性取向表达了理解，而Adam却将对滥交的指责上升到对自己人格的攻击，赌气地说“You win!”之后离家出走，这不是无理取闹？

Flora不但亲自跑去小别墅主动和解，更是在Adam被分手时给予他最大的鼓舞，还祭出了Michael那封百年珍藏的情信，这得是上辈子拯救了银河系才换得来的祖母吧！

Adam在咖啡厅为鲁莽地对Steve动手动脚道歉，却始终没有为那次恶言相向的争吵向祖母道歉，这是哪来的龟孙子！

分集主题的探讨当Michael终于鼓足勇气、带上护照、打算和出狱的Thomas私奔去法国时，与其说是再次胆怯，倒不如说是命运捉弄下的误会，使得两人就此分道扬镳。

Thomas在监狱外四顾心茫然也正说明他在等待Michael的出现。

尽管有情人终不成眷属的安排令人唏嘘，第一集也呈现了脉络清晰、逻辑合理、一波三折、具备感染力的故事，以及明确的主题：对同性恋的无法包容造就了同妻现象。

第二集则云里雾里、不知所云。

如果想讲性瘾或滥交，那比起Michael Fassbender主演的电影Shame真是云泥之别。

如果还探讨社会对同性恋的包容度，恐怕除了祖孙争吵扣了题，其他都偏离十万八千里。

如果想聚焦同妻现象，显然要切换视角改写。

总之，甜不甜我不关心，我只看到第二集主次不分、逻辑混乱。

第二集的重写尽管这个迷你剧是基于真实故事改编，但鉴于上述对第二集的诸多不满意，在保留角色定位的基础上，我重写了第二集，以期这个迷你剧更完整合理，也更容易产生共鸣。

（中文版）距离Berryman一家三口在公交站台和Thomas的偶遇已经过去了三十年。

这天清晨，六十岁的Michael一如既往地半躺在客厅的摇椅上看报纸，妻子Flora则在院子里陪孙子Adam玩耍。

阳光懒散地透过窗户，穿过Michael的老花镜，投射在《伦敦时报》（The London Times）的头版新闻上。

他抬了抬眼镜，忽地专注起来。

这标题说的画家Thomas March，多熟悉的名字啊！

他想，只是同名同姓罢了。

Michael接着往下读。

这位同名同姓的Thomas March的画作吃了几十年灰，终于在耳顺之年遇见了伯乐，一夜成名。

收藏家们甚至为此争得头破血流。

近日，以他的早期作品为主的个人画展吸引了多家报社及上流社会的关注。

其中一幅被引用为Unknown Man In An Orange Shirt的作品尤为特别，因为作品中那位穿着橘色衬衫的男子的脸并没有画上，看起来像是一幅习作。

但正是这份神秘的缺陷美使得这幅技艺并不高超的习作声名远扬。

大家纷纷猜测这人的真实样貌。

Michael可认得这位橘衫男子。

当年Thomas因严重猥亵罪入狱、Michael去他母亲家里探望时，他母亲一番好意想把这幅习作送给他留个纪念，他婉拒了。

他猛地坐直起来，端详着报纸上这位Thomas March的近照，情不自禁地伸出手去反复轻抚。

三十年了，自从公交站台一别，Thomas便人间蒸发似的，渺无音讯。

如今他的脸上早已爬满岁月的刻痕，Michael几乎认不得了。

这些年来，Michael忙于家事，疏于打听他的下落，内心对他充满了愧疚。

但此刻，Michael如释重负。

寸阴若岁，他终于等到机会。

他要当面吐露伫结之情，诉说蒹葭之思。

他兴奋地从口袋里掏出战时替Thomas挡下子弹的那本小画册，飞速记下了报纸上刊登的画展举办地点，尽管字迹因按捺不住的喜悦与激动得微颤的手腕而潦草得难以辨别。

当他打算起身简单收拾下行李时，他蓦然察觉到胸口的绞痛。

还没来得及伸出右手去拿桌上的小药瓶，他的左手已握不住那本小画册。

只见钢笔和小画册从手掌中猝然滑落，发出落槌般的响声，夹杂着他最后一声哽咽，凄切刺骨，仿佛有人在敲丧钟。

硕大的泪珠顺着那苍白的脸庞，宛若沉积半生的歉意，在地板上重重地砸出一朵朵悔恨之花。

当漆黑的天空降下帷幕时，他听见了关于那封因为怯懦而未曾寄出的信——Tell me I'm not too late——的来自命运的回复——I am still too late.一晃眼又过去了三十年，人类迈入了新的世纪。

年迈的Flora坐在三十年前Michael突发心梗去世时坐着的那只摇椅上，仔细地拭去蒙在相框上的灰尘。

她打量着黑白照片里穿着军装的Michael，沉浸在半个世纪前的热恋中，心满意足。

正在厨房里做饭的阿姨是保姆Rita。

老伴儿走了以后，这个家里除了常来打桥牌的三个老太太，便剩下Rita能跟她唠唠嗑儿了。

哦不，地下室里还住着孙子Adam呢，尽管他已是留着小胡子的三十来岁中青年了。

Flora依稀记得Adam上大学时谈了个对象，后来不了了之，再往后也没见过第二个。

Adam白天是一名兽医，到了夜晚却像一头性欲旺盛的猛兽，在同性交友软件上频繁约炮。

Adam自以为祖母始终被蒙在鼓里，毕竟她是来自上个世纪的人，平日里保守得很，对这些新兴事物例如dating apps不一定能接受。

也因此，常年住一块的祖孙俩却交不了心。

Adam不得不把很多私事闷在肚子里，久而久之，心里堵得慌，只好藉由一夜情发泄发泄。

但Flora真的不知情么？

显然不是。

Flora年事已高，目光可犀利得很，就连Adam下班回来时夹克的左肩莫名奇妙沾上的厨房油污都逃不出她的法眼。

更何况她还有个Rita，十足像个私人浏览器，总跟她叨叨社会变迁的方方面面。

Flora只不过不想再严加管束这个孙子罢了，她常常睁一只眼闭一只眼的，毕竟他已是壮年。

这天，有个客户Steve送宠物猫来安乐死。

Adam有些精虫上脑，下班之后亲自将宠物猫的骨灰盒送上门。

他以为可以趁机骗炮。

不料这个Steve和性伴侣住一块，他闷闷不乐地离开了。

无巧不成书。

回家吃晚饭时，祖母告诉Adam，房地产公司认定祖父那栋乡间小别墅年久失修，如果要出售得先支付一笔巨额装修费，她决定暂时不卖了，打算转让到他名下，让他自己去忙活、去处置。

Adam想起来那个Steve就是干建筑设计的。

第二天上班时他便查询了客户信息，联系Steve周末去看看那栋小别墅能否重新装修。

没想到Steve对此抱有极大的兴趣，因为他已经对千篇一律的厨房装修感到厌倦，这栋小别墅的装修有相当大的发挥余地，正合他意。

Adam似乎嗅到了胜利的到来，他对这一炮充满期待。

令Adam始料未及的是，Steve没过几天便带来了一沓设计图纸。

他有些尴尬，本想借装修的名义骗炮罢了。

面对Steve对这差事如此认真负责的态度，Adam觉得这会儿骗炮会显得唐突，只好暂时作罢。

接下来的两个星期里，Steve全天候在小别墅里干活，Adam则在下班后过去帮忙。

第一个周末时，为了赶进度，Adam也留了下来，和Steve分床睡。

在这短暂的相处中，Adam似乎忘记了一夜情的初衷。

他发现Steve这人很理性体贴，既值得信赖，也懂得倾听。

他和Steve可以聊成长、聊家庭，也可以聊性取向、性生活，像家人般亲近。

这天，Steve在装修时发现了一面墙上的暗格，里头藏了一幅某个名叫Thomas的人的画。

尽管Thomas March早在三十年前成名，Adam和Steve这两个门外汉不知情也是可以理解的。

Adam把这幅画带回家询问祖母。

祖母煞费苦心也没能伪装成不知情的样子，她被那一刹那的惊愕出卖了。

尽管如此，她仍漫不经心地说，应该是送给Adam的父母亲的。

Adam对她的无动于衷有些恼火，反驳说这明明是给祖父祖母的，并把画框翻转过来，念道——To Flora and Michael, in the hope that one day the enclosed might hang in your drawing-room. — Thomas祖母故作镇定，接着轻描淡写地说，Thomas不过是Michael的一个普通朋友罢了，一起上学，又一起参战。

这才堵住了Adam的嘴巴。

然而，Flora已经感觉到了画框背面这行他们两夫妇六十年来从未注意过的留言的特别之处。

和Adam道晚安之后，她把这幅画带回自己房间里观察观察。

即便Flora不堪回首，画中的乡间小别墅始终承载着只属于Michael和Thomas的美好回忆。

半个世纪前，她曾像只母老虎似的，为了婚姻顽强抗争。

在那场所谓的爱情保卫战中，她取得了最终胜利，Michael回归了家庭，Thomas也从此消失匿迹。

往后三十余年，她活在了充满激情的婚姻中，直至那个近在咫尺却突如其来的死讯。

那个死讯夺走了她深爱的丈夫，也夺走了她昔日的幻想。

她在Michael的遗物中发现的那封从未寄出却深情饱满的信，使她不得不怀疑，Michael的留下是出于真心实意的爱情，还是胆小怯懦的妥协。

想当年，Thomas写给Michael的情信点燃了她的愤怒，被付之一炬。

如今斯人已去，Michael写给Thomas的情信却成了她对亡夫的寄托。

物是人非，时过境迁，她觉得纠结爱过与否的哲学命题已然无济于事，甚至有些吹毛求疵。

无论事实如何，那三十余年的厮守已在Flora的生命中留下不可磨灭的印记。

而Thomas对她而言，也不再是那个假想的情敌。

想到这，Flora饶有兴致地拆开这幅画的画框，好奇里头藏了什么小把戏。

她万万没有料到，垫在这幅乡间小别墅下方的，是一幅身着橘色衬衫的Michael的画像。

她先是目瞪口呆，转而潸然泪下。

这并不是懊悔的泪水，这是感动的泪水。

她再也无法鄙弃Thomas对Michael那乍一看似乎有悖常理的感情，那是一种超越婚姻之爱而存在的爱，那是一个平淡却充满浪漫主义色彩的英雄梦想。

当年的争风吃醋无可非议，她仍为那份勇敢感到自豪。

但此刻，再铁石心肠的人都不能不被Thomas无私的爱所触动，更何况是心地柔软的Flora。

思虑良久，她止住了泪水，走下楼去，敲了敲地下室的门。

外面长夜漫漫，里面却月明千里。

一个历经沧桑的嗓音把那段尘封的爱情故事娓娓道来，两幅画之间鲜为人知的关联由此揭开，那封跨越半个多世纪的情书也在祖孙膝前流传。

许多年以后，当这个平静却离奇的夜晚闪过脑海，Adam肯定会记得祖母这番情切的话——Your grandpa and Thomas deeply loved each other but didn't end up together due to cowardliness and social prejudice. We three were all victims, suffering through our life. But Adam, the world has changed! I have always known that you were born to be it. I didn't talk about it for fear of your dearth of courage to confront it, as your grandpa did. Now, I am going to tell you, my child. Do not waver whenever your Mr. Right comes. Your grandpa, Thomas, and I would be very proud of you.Adam有些措手不及。

他怎么也没想到有一天祖母会主动帮他打开柜门，并牵着他的手，大大方方地走出来。

这个三十来岁的大男人红着脸上前抱住了祖母。

或是有所启迪，第二天去小别墅帮忙时，Adam便向已有伴侣的Steve示爱。

用情专一的Steve自然拒绝了他。

Adam不免感到失落。

这Steve也确是个通情达理之人，主动上前，捧着Adam的脸，轻轻吻了他的嘴唇，尔后把手搭在他的肩膀，温柔地说——No more pickups, and you'll find him in the end.Adam若有所思地点了点头，尽管他仍对自己第一次示爱被拒有些难过。

当晚，他独自在房间里，又读了一遍祖父的那封信。

约炮消息如潮水般涌来，手机止不住嘟嘟地响，但他视若无睹，似乎已经上岸。

他躺在沙发上，很快就睡着了。

他见到年迈的祖父和Thomas坐在那栋乡间小别墅前的长桌边上。

Thomas略显吃力地在画板上挥舞着画笔。

他缓了缓，右手腕仍颤颤巍巍的。

坐在对面的祖父虽然乖巧地保持静止不动，嘴巴可没闲着。

那件橘色衬衫穿在祖父身上显然已经不合身了，甚至有些滑稽。

两个糟老头子一边聊着半个世纪前那些老掉牙的故事，一边嘲笑着彼此那副老态龙钟的模样。

（英文版）It has been thirty years since the encounter between the Berrymans and Thomas at the bus station.This morning, the sixty-year-old Michael lies on a rocker in the living room, reading a newspaper as usual. His wife, Flora, is playing with their grandson Adam in the yard. The sunlight drowsily passes through the window and his glasses and lands on the latestThe London Times,highlighting the top line on the front page. The titleThe Artist Thomas Marchinstantly caught his eye. What a familiar name! Lifting his glass, he says to himself that it is simply a namesake.As Michael reads further, not until recent years has this Thomas March ended his noteless career lasting for quite a few decades. He then rose to fame in art circles overnight. His works become more and more collectible, even making people scramble. An ongoing solo exhibition of his early works has aroused the attention of a ton of newspaper offices and the uppertendom. The most widely reviewed and highly praised work on display is the one cited asUnknown Man In An Orange Shirt.As the name implies, the man in the portrait has no face at all. Seemingly, this portrait is merely a study, whereas it has been in the spotlight thanks to its mysteriously beautiful flaw. People are starving for a revelation concerning the actual appearance of the faceless man.Michael knows this man. He refused to keep this study as a memento when visiting Thomas's mother after Thomas was imprisoned for gross indecency.Suddenly, he sits up straight, staring at the recent image of Thomas March in the news. He can't help stroking it repeatedly and affectionately. A long separation over thirty years has hindered Michael from recognizing this weather-beaten face.Hadn't he been tied up with family and work, he would have exerted himself to seek Thomas' whereabouts. Guilty has filled his heart all along. By now, he gradually feels able to breathe again. A chance to unbosom himself about how much he has been missing Thomas is awaiting.He fishes the notebook that saved Thomas from a bullet in the war out of his pocket. The location of Thomas's exhibition is then copied out from the news in a twinkling, albeit in an unrecognizable manner due to his overwhelming thrill and shuddering hands. The moment he wants to stand up for packing, he sharply feels angina from his chest. Ahead of reaching drugs on the table, he has become faint and unable to hold the notebook. The pen abruptly falls off his hand and hits the ground. The clash mingles with his last sob, cold and miserable as if somebody just tolled the death knell. His eyes are brilliant, with unwept tears trickling down the pale cheek. Ashamed and repentant, he eventually hears the answer from his own fate regarding the question in the unsent letter —Tell me I'm not too late. It says —I am still too late.Another thirty years follow, and the new century has come. Flora is over eighty, sitting on the rocker where Michael died of a heart attack thirty years ago. She wipes the dust from these photo frames every day. At this point, she is gazing at Michael wearing a uniform in the gray-white photo and immersed in the lovestruck phase half a century ago, well and good.Cooking in the kitchen is her carer, Rita. Life wouldn't be easy for her if Rita hasn't been here, although three friends of hers come to play bridge quite often. Her grandson Adam still lives in the basement despite himself. As Flora remembers, Adam once dated a girl at university, which didn't work out at last.Adam works in a vet during the day. Yet, he turns into a rutting beast as the night falls, hunting for one-night stands on dating apps. Adam likes to think his promiscuity is hidden from his grandma. After all, she is a conservative lady from the last century, and consequently, it is infeasible for Adam to pour out his heart even though they are living together. He resorts to sex to let off steam whenever secrets smolder.Seriously, is Flora in the dark at all? Obviously not. Elder though she is, she has sharp eyes still. Hardly will she lose sight of any kitchen stain on the left shoulder of Adam's jacket when he returns from work. Not to mention her personal browser Rita, who keeps her updated about social changes. Of course, she knows dating apps. But she doesn't feel like being tough on Adam any longer. He should take the lead in his game.One day, there comes a client Steve to give his cat a mercy killing. Adam is somehow turned on. He delivers the cinerary box to Steve's house in the hope of having casual sex, which falls through owing to the presence of Steve's partner.As it happens, the glum Adam hears some good news from grandma just upon his arrival back home. Flora is not selling the cottage now that a pretty penny for renovation is compulsory before the sale. She has decided to transfer its ownership and give him a project to run at will.Knowing that Steve is an architect, Adam contacts him through the client registration system to see if he is interested. Beyond expectations, Steve rises to the bait without any difficulty. He claims it as more challenging compared to stereotyped kitchen designs. Smelling the upcoming victory, Adam eagerly anticipates their sex.Nevertheless, it soon goes out of Adam's control. How seriously Steve must have taken the cottage to bring a pile of design drafts in a few days! Adam feels abashed about making such an excuse for sex. He has to hold off the plan, attempting to make it sound less rude to ask to sleep with Steve.Over the next two weeks, Steve stays in the cottage for the convenience of working, while Adam goes to help off duty. Adam appears to have utterly forgotten his initial intention about sex. Rationality and thoughtfulness make Steve such a trustworthy good listener, to whom Adam is willing to open up about growth and sexuality. Steve is as close as a family member.Later on, a concealed cupboard is found inside the wall, storing a picture signed by some Thomas. Laymen such as Adam and Steve are unlikely to be acquainted with artists. Adam brings this painting of the cottage back home for inquiry. Hard as Flora has tried, she fails to feign ignorance. The amazement has sold her out. Even so, she throws out a distraction saying that it might belong to Adam's parents. A bit annoyed by her nonchalance, Adam retorts by turning the frame upside down and reading the line on the back:To Flora and Michael, in the hope that one day the enclosed might hang in your drawing-room. — ThomasFlora affects calmness and shuts his mouth by mildly commenting that Thomas is nothing but an alumnus at school and a comrade-in-arms of Michael's. Yet, she has sensed the subtext of the message Thomas left sixty years ago that she has never noticed. After saying goodnight, she goes upstairs with the painting for a deeper look.Lingering in the cottage are exclusive recollections of Michael and Thomas, notwithstanding the disparagement from Flora. Half a century ago, she vigorously defended her marriage like a tigress. She triumphed with Michael returning to the family and Thomas vanishing ever after. A period of passion lasting thirty years ensued till the death of her husband came out of the blue. Gone are her devoted lover and her faith in their love in the days of yore. The letter she found in Michael's remains seemingly jeopardizes the assertion that their bonding wasn't a compromise or an expedient. But does it really matter? She once burnt all love letters Thomas wrote to Michael just out of fury. Since the letter has stood as a remembrance of her husband, it is ludicrous to get entangled if love is untrue. At all events, their marriage has been inseparable from her life. And Thomas is no longer the imaginary rival in love.At the thought, Flora opens the frame, pleasantly and curiously. She would have never expected a portrait of Michael in an orange shirt under the painting of the cottage. In the wake of absolute shock, she bursts out crying. Those are not rueful but emotional tears. She can never disdain the affection between Michael and Thomas as if it is perverse. That is love surpassing the love within marriage. That is a plain but heroic dream. Flora always takes pride in her bravery since no blame is attached to her past storm of jealousy. But now, only men made of stone won't be touched by the selfless love of Thomas.Plunged in thought for a long while, she stops crying and walks downstairs to knock on the basement door. It is still an endless night out of the window, while it is as bright as the moonlight shedding for a thousand miles inside. The love story between two men starting six decades ago is told gently but vividly in a voice from whom has gone through storm and stress. The little-known association between these two paintings is then disclosed. The soulful but unsent letter is handed down to generations.Years later, Adam would never forget the speech of his grandma whenever this tranquil and surreal night crosses his mind —Your grandpa and Thomas deeply loved each other but didn't end up together due to cowardliness and social prejudice. We three were all victims, suffering through our life. But Adam, the world has changed! I have always known that you were born to be it. I didn't talk about it for fear of your dearth of courage to confront it, as your grandpa did. Now, I am going to tell you, my child. Do not waver whenever your Mr. Right comes. Your grandpa, Thomas, and I would be very proud of you.Adam is indeed bewildered by the speech. It never occurred to him that one day his grandma would open the closet instead, not only holding his hands but leading him gracefully out of it. This middle-aged bearded flushes exhilaratingly and then holds Flora in a warm embrace.Inspired, Adam confesses his love towards Steve the following day, who has already been taken. The thank-you kiss mitigates the upset caused by the instant refusal. But thought-provoking are words from Steve —No more pickups, and you'll find him in the end.On this night, he rereads Michael's letter, alone in the basement. Notifications from dating apps flood in, keeping his phone vibrating. He seems to brush them aside. Lying on the sofa instead, he soon falls into sleep. He sees his elderly grandpa and Thomas sitting around the wooden table in front of the cottage. Thomas is making efforts to wield the paintbrush. He halts for a second, but his right arm still shivers. The opposite is his grandpa that sits obediently still but never stops talking. The orange shirt is ill-fitting, even ridiculously. This pair of old fellows are mocking at their being on the verge of senility while reminiscing those funny but corny stories half a century ago.

看过电影，估计每一个人都向往着汤姆斯画的那个世外桃源般的田园小屋，然而直到最后我们才发现那幅画后面还藏着另一幅。

许多年前，阳光洒满草地，草在结它的种子，风在摇它的叶子，穿着橘色衬衫迈克站在这个小屋门口，那是他们不说话就十分美好的清晨。

就像看到断背山里最后挂在一起的两件衬衫一样，我们感到甜蜜，也感到心如刀绞。

人生自古悲寂寥，有情人不能终成眷属的伤感，让生活在悲情故事下的我们，该如何继续生活。

也许那副画就是最好的答案，且行且珍惜，勇敢去追寻，莫要同心而离居，忧伤以终老。

橘色，大学时候特别喜欢的颜色。

红色、黄色的重叠就有了不是那么热烈夺目却依然热情温暖的新的颜色。

橘色的衬衫与其说穿在他的身上，不如说早已进入汤姆斯心里最柔软的地方。

那是秋天的颜色，是成熟的颜色，是他认为最美的吧。

两段不同时空的爱恋，却由一个美丽的女子连结起来，她叫Flora。

就像第一眼看到暮年的她时，你会觉得她年轻时一定是个美人。

是的，年轻时的她，金色的波浪卷发，穿着花草图案的复古连衣裙，皎皎如月，她在等待着从战场上归来的爱人。

当战争结束时，她以为她终于等到了那个和她一样父母在战争中去世，在这个世界上可以惺惺相惜的灵魂伴侣。

可是，也许是因为那个时代吧，她像那个时代的其他女子一样，放弃了工作，放弃了自己和社会的联系，放弃了自己重回独立筹码。

她依赖着迈克，也深深爱着他。

然而就像所有故事都是不圆满的一样，迈克却先爱上了另一个人，一个男人。

那是在二战时，迈克救了汤姆斯，之后离别之时，汤姆斯忍不住亲吻了迈克。

而当汤姆斯走后，迈克摸了摸刚才被亲吻的嘴唇，脸上充满了甜蜜。

战后他第一时间去找汤姆斯了。

他怯怯地问起汤姆斯的住址，好像一个羞涩的孩子。

他的心里是凌乱的，他不知道汤姆斯是否还记得当初的邀请，不知道自己的造访会不会很唐突。

不过当他们看到彼此的那一刻，彼此就有了答案。

汤姆斯等待着他，他慌乱地拿起酒杯，最后相拥在一起。

随后，他们在那个小屋里度过了所有人梦寐的生活，一起吃早饭，洗碗和深情的亲吻。

再简陋的地方，有了彼此也就够了。

当汤姆斯拿出那些没有寄出的情书，厚厚一叠，迈克是那么的惊讶和兴奋。

那时没有寄出，就是为了等待此刻吧。

之后迈克迫于当时的压力，要和Flora结婚。

虽然汤姆斯不愿意看着自己心爱的人和别人结婚，可是他还是来了。

那时迈克在焦急等待中说了“You came”，就像当初他去找汤姆斯，汤姆斯说的“you came”一样。

最美好的事不过就是你等待的人出现了，出现的就是你等待的人吗？

然而他们结婚时，Flora的女友说，很奇怪这样场面竟然没有人哭。

也许那种像是兄妹之间的亲情，不会在此刻引起他们内心触动吧。

一切的美好都毁于汤姆斯写给迈克的情书。

不过没有这情书，他们关系的断裂也是迟早的，命中注定的悲剧。

可是，迈克为什么把别人写的情书好好地放在自己的桌子里呢。

谁会这么笨呢？

也许他就是这么个笨小孩吧，小时候也受到迈克很多欺负（Was I a beast to you at shcool?）。

Flora烧掉了所有的信，当时的她对迈克是鄙夷的恶心的。

可是当她想要告诉自己的姐妹时，她退却了。

因为她心里还是不愿让他进监狱的。

她在气愤中早产，生下了孩子。

最后她想通了，她要变为控制者，她要掌控自己的爱情。

因为有了孩子，他觉得她赢了。

当爱情的火苗在平静如水的生活中慢慢消逝，迈克得知汤姆斯入狱的消息。

他担心，但也懦弱地不敢去看望。

但是当听到汤姆斯真心爱着他的时候，他动容了。

可是满脸胡茬的汤姆斯出现在他面前时，已经没有了先前的骄傲，他不想失去自己在他内心的最后一点美好和自尊。

他只是告诉迈克不要把他的小孩培养成像他一样压抑自己的银行职员。

后来迈克去看望了汤姆斯的妈妈。

（一听到汤姆斯妈妈的声音，我简直爱死了这个在 极品基老伴里想要再多喝几口酒再走的神经质女人。

）作为妈妈，她是了解自己的孩子的，她保存了那么一个私密的小空间存放所有孩子的画作。

此时他看到那个没有脸庞，只有橙色衬衫的男子，他们都知道是谁。

作为母亲她又是多么希望自己的孩子快乐幸福啊，在那个时代她又是多么伟大，可以包容给予孩子社会所不允许的自由生活。

最后迈克没有拿走那副画，他拿走了那个有着两人共同回忆的战场上的笔记本，唯有此不会被人扔掉不会被人指责吧。

然而当迈克的妈妈问起“Is she happy？

”的时候， 也许是整个剧里最直击人心扉的话了。

他回到家，看到在炉火旁打盹儿的妻子。

也许他看到了即使熟睡也并不是很快乐的妻子。

他想要逃离，像一个意气用事、不负责任的孩子一样，对妻子不告而别，想要和汤姆斯远走高飞。

可是，最终他还是退却了，他没有勇气上前去迎接他所爱的人。

可是到底为什么呢？

是因为汤姆斯一群朋友前来让他尴尬，还是一刹那的犹豫让他没有再多向前走一步。

最后他回到家，倒在楼梯上大哭。

他想要给Flora自由，可是Flora却想继续，她想用后半生去赌赢自己的决定。

我想Flora对汤姆斯是有歉疚和同情的，她是善良的，同时他也是受害者。

当迈克决绝地拒绝了去汤姆斯画展的提议，她看着汤姆斯向车内的飞吻，她的眼神里是胜利的光芒。

她一直以为自己赢了这个赌注时，可看到那藏在油画背后的画像时，那一刻满头银发、皱纹满面的Flora惊诧地说不出一句话来，她所有的信念都崩塌了，她似乎此刻也才明白自己守护一生的并不是爱情，。

在这场没有硝烟的爱情战斗中，她一开始就输了，又如何会赢呢？

也许此时她才真正明白爱情的意义，以及她曾经回答小朋友关于帕特洛克罗斯和阿喀琉斯的问题时说的“Love between the heroes was regarded as surpassing the love within marriage.”吧。

也许我们每个人都是Flora，明知山有虎，偏向虎山行；明知是个错误，也偏要一试。

最终我们每个人都会为我们昨天的决定付出代价。

电影有两部，可能第一部更让人触动一些吧。

不过有着血脉相连的祖孙两个，不同时代的爱恋，面对着不同的问题。

无论是那个同性恋会被送进监狱，人们不敢面对真实的自己和感情的时代，还是更为开放包容有着各种软件支持的今天，其实都让我们思考到底该如何面对一段感情，该如何去爱。

以前的你要压抑自己的情感而让自己像别人一样正常，而失掉最宝贵的自己。

而如今，人们可以自由追寻所爱，但是要找到一份属于自己的爱情依然不是件易事。

也许人一辈子上下求索的就是年老时的不后悔，不厚会曾经某一刻的勇敢和坚持，成就了两颗同样的心跳。

年轻的人们，你的身边可曾出现一个穿着橙色衬衫的男子，抑或是穿着花草图案连衣裙的女孩儿？

希望前人的悲剧不会在你身上再次出现，也希望你的故事会是个美好的结局。

「He loved me, but he married me to be like everybody else.」「I thought I'd won. I ruined both of their lives. → They hurt you, too. → Yes.」「"My darling Thomas. I'm at work. Nobody knows I'm writing to you here. You refuse my visits, so you're probably tearing up my letters, too. But there's nothing else I can do but keep trying. It's beyond my control, do you see? All those months ago, when I had nothing to lose, really, I wrote to you in my head but was too cowardly to set more than lies on paper. And now, I find I no longer care. The love I feel for you runs through me like grain through wood. I love you, Thomas. Your face, your voice, your touch enter my mind at the least opportune moments and I find I have no power to withstand them. No desire to. I want us to be together, as we were in the cottage. Only for ever, not just a weekend. I want it to go on so long that it feels normal. I think of you constantly. Your face, your breath on my neck at night. I want to do all the ordinary, un-bedroomy things we never got around to doing. Making toast. Raking leaves. Sitting in silence. I love you, Thomas. I've always loved you. I see that now. Tell me I'm not too late.」