Two teenagers falling in love in Kansas 1928, Deanie and Bud (Wood and Beatty) are the ne plus ultra of high school sweethearts, he is a jockey born with a silver spoon, she is as lovely as a storybook princess, both parents are quite content with their pairing, then why, in Kazan’s SPLENDOR IN THE GRASS, apart from the fallout of the imminent and fateful Crash of 1929, their lives will be permanently scarred, and both opt for a settling-for-less middle ground.
在一个显现给定物的目的的照耀下给定物得以显现。这个给定物是所指，目的是能指。
——拉康
我受了极大的感动，不是像一些受了感化的家长那样由于电影最终的内容，而是由于卡赞对于一切方面的处理中美得无法形容的virtuosity。这部电影的所指（符号学上来说）异常简单，而且被意识形态所充满——那些拥抱意识形态的人感觉不到它——这使得电影注定不完全协调并像本雅明或阿多诺喜欢指出的那样使能指（目的之目的）超过了所指（目的）。（目的万岁！）
It works wonders when beautiful verses are weaved in with plots, especially as motifs. It struck you time and time again and made an ever so strong echo in your mind and heart.
William Wordsworth is probably my favorite poet in the English literature. I love his "I Wondered Lonely". The lines where the title of this movie comes from are also impressively beautiful, making the movie as poignant as possible.
Natalie Wood is so convincing as the tormented, love-sick young girl brought up to be good. And the debut of Warren Beatty is quite successful.
Natalie's portrait of madness is not over the top, thank goodness.
The movie ends on a good note, maybe still too good to be true. People sent to a mental institute do no usually turn out that normal due to the medical conditions at that time. Still, it's Hollywood and it got to end that way.
【天涯何处觅知音】年少时看过的最令人悲伤的爱情片
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