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The Feminism Reflected in the Novel Forrest GumpThe commercials for Forrest Gump make it look like the sort of movie described as "wonderful" and "heartwarming"; fortunately, it's better than that. I had read the book, by Winston Groom, and hoped the movie wouldn't lose the engaging voice of the novel -- the voice of Forrest Gump (IQ 75), a simple-minded, good-hearted Southern boy whose life is a series of whimsical, mildly satirical episodes. As it happens, Tom Hanks, as Gump, narrates the movie from a bus-stop bench and delivers many of Groom's best lines. The script isn't as funny as the novel -- the film's Gump isn't as much of a screw-up as the book's Gump -- but it's funny enough, and sometimes it hits daring notes. When Gump tells us that his childhood sweetheart Jenny is lucky to have a father who kisses and touches her and her sisters all the time, the line is funny because it's exactly what the innocent Gump would assume. But it's also not funny. It's these examples of Gump's trusting nature being utterly inaccurate that save Forrest Gump from being mush. The movie, directed by Robert Zemeckis (Who Framed Roger Rabbit), isn't meant to be taken literally; like many enchanting films, it falls apart under close scrutiny. Most people, though, won't have the heart to scrutinize it, and, aside from a few minor complaints, I see no need to, either. Its flaws don't do it any great harm; it's as comforting as an afternoon nap, but also as refreshing, and it's going to be a big hit. Forrest Gump creates its own floating reality, and the problem many critics have with this is that it deals, in large part, with actual historical events (much of the film addresses Vietnam and the peace movement). The movie is meant to be American history as seen through the eyes of a man who understands very little of what he sees. And he speaks for people who can't make any more sense of the last three decades than he can. In other words, Forrest Gump -- America considered through a folksy, satirical lens -- will annoy those who prefer their satire with a harder edge (i.e., satire that punctures the "correct" targets). The movie has drawn fire for being reactionary, and it may well become a favorite of conservatives, but I think that has more to do with what didn't survive the transition from book to movie (Groom's satire was more even-handed) because of time limitations. For example, the radical hippies of the peace movement are presented as slimy, predatory womanizers who slap their girlfriends around (one guy even does this and then blames it on "that goddamn Johnson"). But talk to some women who remember those days and they'll tell you this isn't far from the truth: The "sexual revolution" turned out to be a new, hip variation on the time-honored male ploy to get women to spread their legs, and we're still paying for it. The critics who want to be intellectually one up on the large, stupid wad of Americans who embrace this film are attacking the wrong movie for the wrong reasons. Forrest Gump, a proudly square fantasia, has much more to offer than a likable but coldly hip critics' darling like Four Weddings and a Funeral, and certainly more than the recent crop of hip movies that don't ask you to feel anything -- The Shadow, Wyatt Earp, The Crow, The Flintstones, and on and on. Almost 25 years ago, Pauline Kael wrote that the then-popular movie Joe (another counter-counterculture hit, all but forgotten today) could easily be turned into a Saturday-morning cartoon, and the episodic, virtually plotless Forrest Gump would also be ideal ("Gump Plays Football," "Gump Goes to Vietnam," "Gump Starts a Shrimping Business"). At two hours and twenty-two minutes, the movie is an epic ramble, with characters disappearing and reappearing as the story requires. Gump is a safe guide through the tumult of the '60s, the absurdity of the '70s, and the greed of the '80s. Jenny (played in adulthood by Robin Wright), on the other hand, seems to experience everything terrible about those decades: drugs, soulless sex, more abuse, more drugs, and one final pitfall that isn't in the book. Letting her pristine features collapse into numbness, Wright fleshes out Jenny's self-disgust. This masochistic woman isn't ready for Gump, who, in his infinite kindness, wants only to love her. She embodies American disillusionment, and she will probably make a lot of feminists foam at the mouth. I can't say I disagree; the book's Jenny certainly wasn't this self-hating (she was, in fact, more of a free spirit like Gump). Gump flies through the decades with nary a scratch, but a vague, doomy cloud hangs over poor Jenny, who always makes the worst choices. You may fairly ask what this woman is being punished for. The movie, however, continues to see through Gump's eyes, and since he never judges or condemns Jenny, we clearly aren't meant to. Even the aforementioned feminists may forgive much when they see how tenderly Gump looks at Jenny (the camera agrees with him). Here, Tom Hanks cements his status as the movies' great modern romantic lead. Handsome (though not in a plastic cover-boy way -- especially not with the dorky Gump buzz-cut he's been given), non-threatening, emotionally direct, Hanks is the obvious successor to James Stewart, who in his early thirties would have done well by Gump. Hanks' Gump is as solemnly attentive as an owl, absorbing information he can't add up. But he's also confident enough in himself to be good-natured despite his low intelligence; he remembers nothing so much as what his dear, tough mama (Sally Field in a tart, restrained performance) told him: You're no different than anyone else. One of the movie's ironies is that only an idiot like Gump could have such terrific self-esteem. Zemeckis makes Tom Hanks lovable, but Hanks resists being shameless -- he has too much good humor for that. His beautifully modulated work as a grieving man in Sleepless in Seattle seemed too hefty for that piffly romantic comedy, yet he had a superb moment parodying women's weepy connection to An Affair to Remember -- he and a buddy sobbed while recalling choice scenes in The Dirty Dozen. And in Philadelphia he proved he wouldn't disgrace himself by shilling for easy tears. Hanks doesn't make Forrest Gump a cutie-pie. He intensifies his greatest resource as an actor -- that we can read him better than any star since James Stewart -- so that Gump's feelings come across with startling clarity. When Hanks has his big moment near the end -- Gump talking to Jenny and fighting to keep his composure -- the audience is his to lose, and he doesn't. He also has the generosity to step aside and let his co-stars take over: Mykelti Williamson as Bubba, who worships shrimp; Gary Sinise as Lieutenant Dan, who is disabled in Vietnam and blames Gump for saving his life, because he'd wanted to die heroically in combat. These fine actors ground the movie in bitter reality. A review of Forrest Gump wouldn't be complete without a mention of the astounding computer-generated visual effects, which enable Gump to interact (in actual newsreel footage) with JFK, Nixon, John Lennon, and many others, and also give us small pleasures that don't announce themselves as artificial: a ping-pong ball, the feather during the opening credits, the peace rally of thousands of people -- all computerized images, of course. This shouldn't be surprising coming from Robert Zemeckis, the toy-shop magician who seems to set himself a new technical challenge with each movie (his last was Death Becomes Her). What is surprising is that Zemeckis should have such assured control of such potentially sugary material. Embracing sentiment while avoiding the pitfalls of sentimentality is a special effect in itself.

女权主义他们有了工作，但是男女平等主义者不被使～满意; 每隔一女人必须也拿一。 因此他们向有野蛮的主妇开火以仍然在我们的文化各处发回声。 一个主妇是 " 寄生虫 ",[贝蒂] Frieden 写; 如此的女人在 " 一点也不完全人类 " 的范围例如他们 " 从未知道对一个主意的一个承诺 " 。 大卫 Gelernter,引起生活,平安渡过邮包炸手,释放杂志报纸,1997,p。 95当凯特 Millett 在 1969 家庭一定去中法令的时候，家庭主妇而不是男人, 是女权主义的视力猎物。 男女平等主义者不为传统的女人说。 然而,男人不能够知道这, 除非我们告诉他们我们如何在家中觉得他们，我们的孩子 , 和我们的角色。 男人一定了解向他们和我们的孩子我们的感觉被男女平等主义者嘲弄并且已经赚我们他们的敌意。是否这理解逐渐获取男人的支持, 传统的女人一定防护我们自己因为男女平等主义的攻势最本质上,是由于我们一个团结的裂口, 义务的 disavowel 尊敬女人的契约 [ 宗教性的独身者，专业的女人和主妇尊敬彼此]哪一运动的女人对我们亏欠。 F. 卡洛琳 Graglia ，国内的宁静, 摘要反对女权主义，出版公司，达拉斯的斯彭斯,1998,p。 97" 我不是那种女人变白色 ",写小说家珍微笑的, 在解释之前她如何仅仅做和,在程序中，她发现了她自己当什么分类的女人。 一个男女平等主义的有知识者和实际的比较中西部的, 微笑的总是有发誓放弃虚荣心.她戴了眼镜和简单的白色棉花内衣裤, 有了一个 " 短又男性的束发 ", 和从不, 曾经修面她的腿或 underarms。 她的容貌反映了她的信念。 "如果我染了我的头发 ," 她想,"那会导致化妆, 和不可避免,到修指甲术，美颜术，裤袜水管 , 和家长统治的批发服从".但是推论本身反映了较早的时代铅版，女人一定在智力和美人，思想和身体，物质和表面之间选择的主意。 在她里面早的四十, 微笑的发现了她的外表她有计划的不重视正在送不必要的信号而且藏她的个性重要方面。 她感兴趣的男人没有视她为一个女人。 对她的治疗师焦躁的她。 治疗师把她送给他的使用彩色者。 如此开始了白色头发的她新生活而且修面了腋窝 -- 新快乐和新的意义。 " 有时我在镜子之前和只是站赞美它",她说及她的焦糖- 彩色的头发。"资讯科技是美丽,分层堆积, 发闪烁之光黄金，柔软而且火花，彩色那的一根头发在动物世界中对我和没有类似版本没有关系。 我会憎恨放弃它。"

FeminismThey had jobs, but feminists weren't satisfied; every other woman had to get one too. So they opened fire on homemakers with a savagery that still echoes throughout our culture. A housewife is a "parasite," [Betty] Frieden writes; such women are "less than fully human" insofar as they "have never known a commitment to an idea." David Gelernter, Drawing Life, Surviving the Unabomber, Free Press, 1997, p. 95 Housewives, not men, were the prey in feminism's sights when Kate Millett decreed in 1969 that the family must go. Feminists do not speak for traditional women. Men cannot know this, however, unless we tell them how we feel about them, our children, and our role in the home. Men must understand that our feelings towards them and our children are derided by feminists and have earned us their enmity. Whether or not this understanding garners men's support, traditional women must defend ourselves because the feminist offensive is, most essentially, a breach of solidarity with us, a disavowel of the obligation to honor the Women's Pact [that religious celibates, professional women, and homemakers respect each other] that women in the movement owed to us. F. Carolyn Graglia, Domestic Tranquility, A Brief Against Feminism, Spence Publishing Company, Dallas, 1998, p. 97 "I am not the sort of woman who goes blonde," writes novelist Jane Smiley, before explaining how she did just that and, in the process, what sort of woman she discovered herself to be. A feminist intellectual and practical Midwesterner, Smiley had always "abjured vanity." She wore glasses and plain white cotton underwear, had a "short, masculine hairdo," and never, ever shaved her legs or underarms. Her looks reflected her convictions. "If I dyed my hair," she thought, "that would lead to makeup, and inevitably, to manicures, facials, panty hose, and the wholesale submission to the patriarchy." But that reasoning itself reflected the stereotypes of an earlier era, the idea that women must choose between intelligence and beauty, mind and body, substance and surface. In her early forties, Smiley discovered that her studied indifference to her appearance was sending unwanted signals and hiding important aspects of her personality. The man she was interested in didn't see her as a woman. She fretted to her therapist. The therapist sent her to his colorist. Thus began her new life of blonde hair and shaved armpits -- of new pleasures and new meaning. "Sometimes I stand in front of the mirror and simply admire it," she says of her caramel-colored hair. "It is a beautiful, layered, shimmering gold, soft and sparkly, a hair color that has no relation to me and no counterpart in the animal world. I would hate to give it up." 可以参考这个网址