爱情多半是不成功的，要么苦于终成眷属的厌倦，要么苦于未能终成眷属的悲哀。 ——钱钟书
她比从前更美丽了，这种美丽并不仅仅源于外表，而是一个女人经过风霜后的成熟，这种美丽，要用青春来作为代价才能实现。
爱情，不是占有，是用青春怀恋，即使曾经那么狠心抛下，初衷还是不变，因为他曾告诉她，他写的诗里字里行间都是她。
他的爱是风中飘落的树叶，起舞的时候随风飘荡，浪漫华丽。落下的时候，仓惶凌乱，结局凄惨。如果你注重爱的过程，那美丽的爱情始终值得回味。如果你注重爱的结果
Heartbreaking.
This is not a documentary. The director has his own way of understanding both sides. He knew too well that this is a tragic story.
原本以为这部电影又是讲什么打动人心的爱情故事，被打脸后的我：很好，这很现实。爱该不该伴随着责任？这是我看完影片的第一个想法。
没有责任的爱，充斥着激情、自由，听起来是青春之恋，听起来具有悲剧的易碎美感，很适合成为一种艺术，但生活里，不是我们所需要的。几年前的我，若是看到将来的自己说出这番话，会因为认为被亵渎了崇高的自由精神，被侮辱了完全纯粹的爱，而气急败坏冲到未来掐死自己。但这就是生活所教育我的，通过泪水，悲鸣，抑郁，恐惧
上学期性别课应该配这部电影的。本来只想看诗人，没想到最后是vv那么夺目。
The whole film demonstrates the idea of institutionalized power/discourse, a typical foucaultian instance of constructed madness, and perfectly exemplifies how a British female can be exiled from public space, induced by male-favoured legislation in the discouse of 20th century. Also, this is how biopolitics works within a patriarchal society.
最后，电影的隐喻和呼应都精彩极了。
“AT SOME point in their marriage Tom Eliot went mad and promptly certified his wife.”
That’s what Edith Sitwell said to Michael Hastings before he wrote this absorbing, moving play in 1984, and, if Tom and Viv is to believed, she had a point. Eliot’s first wife was mischievous, erratic and sometimes pretty peculiar. But was T. S., who had vowed undying love for her, justified in so utterly abandoning a woman who could claim to be his muse, or at least his Dark Lady?
But then, as Hastings concedes in his intro to the text, Tom and Viv isn’t wholly to be believed. The play belongs to that increasingly popular but deeply questionable genre, speculative biography, or “faction”.
诗人与他的情人：深刻！爱情占女人生命多少？
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