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这是一部真实描述三名未婚女性在面临婚姻和性问题上所持有的价值观的青春言情剧，它以电影的制作方式，纯美的画面，平实的故事，自然的表达，向人们细述生活中的真实情感。 去机场接朋友思缤的英珠，与从美国进修回来的小学同学——潇洒幽默、极俱才能的承振邂逅相遇，当承振想起小时候暗恋英珠的情景，暗地勾起了他对儿时美好回忆。此时，英珠已有了相处八年、本性善良的恋人——广播制作人东锡；承振也有一位外貌迷人、性格奔放的女友——美大毕业的摄影师美艳。而英珠、美艳、思缤恰恰是学生时代最要好的同窗。 性格温和的东锡，由于受英珠的推托和母亲的阻挠，迟迟未能与英珠达成婚约。承振忆起小时残存的美好片断及父母离异带来的痛苦，觉得只有英珠考勤能唤回他美好的一切，于是置已有身孕的美艳不顾，向英珠发起了强大的恋爱攻势，英珠步步退守却最终接受了承振。而自己不忍受用手术刀夺去肚子里小生命的美艳，尝试一次次的努力，却挽留不住承振离去的心。忍受着内心的苦楚，仍细心呵护着英珠，默默地等待她回心转意。 英珠一直不知道美艳原来就是承振的恋人，美艳三番四次地想将一切向英珠表白，但每次机会都与她擦肩而过，始终未能如愿。而此时的思缤，却夹在两人中间，力图能冥冥中寻找一种力量去帮助他们解决这纷乱的情丝；但同时，她却在自己与男友贤泰的情网中，寻找一种新的恋爱方式——尝试婚前协议同居。 英珠最终知道了一切，承振为了美艳肚里的孩子决定与英珠分手。美艳真诚地激请英珠和承珠来到她的住处，并问承振是否真的能同她结婚，并要求他在二人面前回答这个问题，承振痛苦的作出了决定，选择了美艳，但美艳却拒绝了他。 美艳作为高血压产妇，分娩中会有危险，但她决意已定，要留住这世上唯一的亲情。思缤终于得到美满的姻缘。此时，分娩中有危险的美艳，将要迎接一个新的生命的降临，而在这最危急的时候，陪在她身边的正是英珠。 黄昏的海滩上，等待承振的是他熟悉的身影……有人非死不可老梁故事汇文德森·奴尼斯：我就这样覆没家庭无路可逃1992犯罪现场调查第八季神气威龙费城永远阳光灿烂第八季画中仙粤语版出猫求恋期紧要关头身在其中小木人4北极远征路易不容易第一季亲爱的海军一起吃晚餐吗新死亡习作蓝调女王2015锦衣卫之炼火记失踪的女中学生Oh My Baby只因单身在一起定时器曝光勋章鳄鱼邓迪2情谊之声鬼作秀 第三季白色荣光最终篇：地狱犬的肖像瑞典人在美国末世觉醒之溯源求爱双城记大哥大姐没出息第一季尘音加油优雅肤色我的老爸是奇葩海上风暴
这是一部真实描述三名未婚女性在面临婚姻和性问题上所持有的价值观的青春言情剧，它以电影的制作方式，纯美的画面，平实的故事，自然的表达，向人们细述生活中的真实情感。 去机场接朋友思缤的英珠，与从美国进修回来的小学同学——潇洒幽默、极俱才能的承振邂逅相遇，当承振想起小时候暗恋英珠的情景，暗地勾起了他对儿时美好回忆。此时，英珠已有了相处八年、本性善良的恋人——广播制作人东锡；承振也有一位外貌迷人、性格奔放的女友——美大毕业的摄影师美艳。而英珠、美艳、思缤恰恰是学生时代最要好的同窗。 性格温和的东锡，由于受英珠的推托和母亲的阻挠，迟迟未能与英珠达成婚约。承振忆起小时残存的美好片断及父母离异带来的痛苦，觉得只有英珠考勤能唤回他美好的一切，于是置已有身孕的美艳不顾，向英珠发起了强大的恋爱攻势，英珠步步退守却最终接受了承振。而自己不忍受用手术刀夺去肚子里小生命的美艳，尝试一次次的努力，却挽留不住承振离去的心。忍受着内心的苦楚，仍细心呵护着英珠，默默地等待她回心转意。 英珠一直不知道美艳原来就是承振的恋人，美艳三番四次地想将一切向英珠表白，但每次机会都与她擦肩而过，始终未能如愿。而此时的思缤，却夹在两人中间，力图能冥冥中寻找一种力量去帮助他们解决这纷乱的情丝；但同时，她却在自己与男友贤泰的情网中，寻找一种新的恋爱方式——尝试婚前协议同居。 英珠最终知道了一切，承振为了美艳肚里的孩子决定与英珠分手。美艳真诚地激请英珠和承珠来到她的住处，并问承振是否真的能同她结婚，并要求他在二人面前回答这个问题，承振痛苦的作出了决定，选择了美艳，但美艳却拒绝了他。 美艳作为高血压产妇，分娩中会有危险，但她决意已定，要留住这世上唯一的亲情。思缤终于得到美满的姻缘。此时，分娩中有危险的美艳，将要迎接一个新的生命的降临，而在这最危急的时候，陪在她身边的正是英珠。 黄昏的海滩上，等待承振的是他熟悉的身影……有人非死不可老梁故事汇文德森·奴尼斯：我就这样覆没家庭无路可逃1992犯罪现场调查第八季神气威龙费城永远阳光灿烂第八季画中仙粤语版出猫求恋期紧要关头身在其中小木人4北极远征路易不容易第一季亲爱的海军一起吃晚餐吗新死亡习作蓝调女王2015锦衣卫之炼火记失踪的女中学生Oh My Baby只因单身在一起定时器曝光勋章鳄鱼邓迪2情谊之声鬼作秀 第三季白色荣光最终篇：地狱犬的肖像瑞典人在美国末世觉醒之溯源求爱双城记大哥大姐没出息第一季尘音加油优雅肤色我的老爸是奇葩海上风暴
长篇影评
1 ) 如何释怀生命的终结
说来也巧，最近两年的经历也恰恰让我遇到了一些关乎生死命题的影片，倒不希望是什么墨菲定律，纯粹偶然最好。一直以来喜欢看悲剧，再看完这部影片之后决定多看喜剧。
也看了不少梅姨的经典之作，在打开这部片子的时候完全想不到这比起其他作品名不见经传的亲情片，竟是梅姨最打动我的角色。
有一些片段会让你不经意间想要恸哭一场，在今天的早晨看完这部影片，整个人沉浸在巨大的悲伤当中。生老病死是最无法抗争的人生主题。你无法决定出生和死亡，也无法逃避生病和老去。唯有面对，但这个过程有时候却异常的痛苦而残忍。
你如何面对自己的死亡？
并不觉得片中的父亲出轨，他更像被深爱了太久的孩子，无措、逃避因而显得懦弱、自私。一双儿女倒因为一些无知无谓或后知后觉显得更勇敢一些。平淡如常的家庭生活里，父亲更懂得妻子的去世对自己意味着什么。
关于死亡，有时候觉得自己是有答案的。有时候又觉得没有。在你离它更近一步的时候，慌乱与沉静被割裂着、催促着、沉浸式的想象着，唯独无法亲自感受之后再做回勇敢的自己。
如何释怀生命的终结？没有人知道答案。我们想谈论它，是因为更想逃避它。我们想面对它，是因为更想跨越它。
2 ) 生活的马赛克
故事在两个层面展开，母亲与女儿之间，母亲与死亡之间，讲述这两组关系如何对抗隔阂，如何握手言和，从而让女儿（观众）明白那件无比简单的事情——用力去爱吧，趁我们和我们爱的人活着的时候。
因友人推荐，隔离期的深夜看片，期间多次大哭。鲁迅说，悲剧就是把美好的东西打碎给人看。片中多次出现盘子打落散落一地的情节。其实对那些破碎了的东西，你可以让它们洒落一地并弃之不顾，也可以把它们拾起、拼接，最终形成花样繁复、五彩斑斓的马赛克。人生是不是也能因此，超越简单的悲喜，而具有不可被夺走的意义呢？
最终，女儿艾丽也如母亲一样，学会了拼接马赛克，听到了那些细碎到令人忽视的声音。
3 ) The movie goes not for big melodramatic revelations but for the accumulation of emotional investment
No matter how well we eventually come to understand our parents, our deepest feelings about them are formed at a time when we are young and have incomplete information. “One True Thing” is about a daughter who grows up admiring her father and harboring doubts about her mother, and finds out she doesn't know as much about either one as she thinks she does.
The movie is based on the 1995 novel by Anna Quindlen about a New York magazine writer whose father is “Mr. American Literature” and whose mother seems to have been shaped by the same forces that generated Martha Stewart's hallucinations. Ellen (Renee Zellweger) is bright and pretty but with a subtle wounded look: She has that way of signaling that she's been hurt and expects to be hurt again.
She comes home to upstate New York for a surprise birthday party for her father, a professor named George (William Hurt), and is not surprised to see her mother, Kate (Meryl Streep), prancing around the house dressed like Dorothy in “The Wizard of Oz.” Yes, it's a costume party, but Kate is the kind of woman who can find costumes like that right in her own closet. Eventually Ellen gets a chance to ask her dad about her latest magazine article, which he has read and, “writer to writer,” thinks should be “more muscular.” Later he muses, “When I was 20 and working at the New Yorker, I would spend a whole day working on a single sentence.” That's the kind of statement that deserves pity rather than respect; if it is true, then to meet his deadlines he must have had to dash off his other sentences in heedless haste. Ellen should be able to feel a certain contempt for her father for even using such a ploy, but she is blinded by his tweeds, his National Book Award, his seminars, his whole edifice of importance. He thinks he's a big shot, and she buys it.
Ellen's hurt, we see, comes because her father, whom she admires, does not sufficiently show his love for her--while her mother, of whom she disapproves, has a love that is therefore unwelcome. All of this begins to matter in the next months, as it develops that Kate has cancer, and George wants his daughter to move back home and take care of her.
But ... I have a career, Ellen argues. “You can work as a free-lancer from home,” the professor says, clearly not convinced that whatever his daughter has can be described as a career. He, of course, is too busy with midterms to take care of Kate. The family's younger brother, Brian (Tom Everett Scott), must stay in school. Yes, a nurse could be hired, but the professor doesn't want a nurse poking around the house and disturbing his routine. Kate herself doesn't want Ellen to stay, but wasn't consulted (by her husband or her daughter) about the decision.
As autumn winds down into winter, Ellen coexists in the house with a mother who is clearly demented in the area of domestic activities. She belongs to a local group named the Minnies, who decorate Christmas trees with the fury of beavers rebuilding a dam. The luncheon meetings of the Minnies could be photographed for layouts in food magazines, and of course the Minnies cook everything themselves. When Ellen breaks a piece of Kate's china, Kate asks her to save the pieces because she can use them in her mosaic table. Ellen finally tells Kate she thinks the Minnies are like a cult group.
George, on the other hand, throws his daughter a bone; he asks her to write an introduction to his collected essays. She is flattered, although a little wounded that he then immediately asks her, in more or less the same spirit, to launder some shirts.
As winter unfolds and Kate's illness grows more severe, Ellen begins to suspect things about her father, and her mother observes this and finally tells her: “There's nothing that you know about your father that I don't know--and better.” And we see that the buried story of the movie is the hurt Kate has borne all these years over the way her daughter's love was quietly directed away from her.
It is the craftsmanship that elevates “One True Thing” above the level of a soaper. The director, Carl Franklin (“One False Move”), goes not for big melodramatic revelations but for the accumulation of emotional investments. Hurt and Streep are so well cast they're able to overcome the generic natures of their roles and make them particular people. And Renee Zellweger, as Streep observed at the Telluride Film Festival, is able to create a place for herself and work inside it, not acting so much as fiercely possessing her character. The movie's lesson is that we go through life telling ourselves a story about our childhood and our parents, but we are the authors of that story, and it is less fact than fiction.
The movie is based on the 1995 novel by Anna Quindlen about a New York magazine writer whose father is “Mr. American Literature” and whose mother seems to have been shaped by the same forces that generated Martha Stewart's hallucinations. Ellen (Renee Zellweger) is bright and pretty but with a subtle wounded look: She has that way of signaling that she's been hurt and expects to be hurt again.
She comes home to upstate New York for a surprise birthday party for her father, a professor named George (William Hurt), and is not surprised to see her mother, Kate (Meryl Streep), prancing around the house dressed like Dorothy in “The Wizard of Oz.” Yes, it's a costume party, but Kate is the kind of woman who can find costumes like that right in her own closet. Eventually Ellen gets a chance to ask her dad about her latest magazine article, which he has read and, “writer to writer,” thinks should be “more muscular.” Later he muses, “When I was 20 and working at the New Yorker, I would spend a whole day working on a single sentence.” That's the kind of statement that deserves pity rather than respect; if it is true, then to meet his deadlines he must have had to dash off his other sentences in heedless haste. Ellen should be able to feel a certain contempt for her father for even using such a ploy, but she is blinded by his tweeds, his National Book Award, his seminars, his whole edifice of importance. He thinks he's a big shot, and she buys it.
Ellen's hurt, we see, comes because her father, whom she admires, does not sufficiently show his love for her--while her mother, of whom she disapproves, has a love that is therefore unwelcome. All of this begins to matter in the next months, as it develops that Kate has cancer, and George wants his daughter to move back home and take care of her.
But ... I have a career, Ellen argues. “You can work as a free-lancer from home,” the professor says, clearly not convinced that whatever his daughter has can be described as a career. He, of course, is too busy with midterms to take care of Kate. The family's younger brother, Brian (Tom Everett Scott), must stay in school. Yes, a nurse could be hired, but the professor doesn't want a nurse poking around the house and disturbing his routine. Kate herself doesn't want Ellen to stay, but wasn't consulted (by her husband or her daughter) about the decision.
As autumn winds down into winter, Ellen coexists in the house with a mother who is clearly demented in the area of domestic activities. She belongs to a local group named the Minnies, who decorate Christmas trees with the fury of beavers rebuilding a dam. The luncheon meetings of the Minnies could be photographed for layouts in food magazines, and of course the Minnies cook everything themselves. When Ellen breaks a piece of Kate's china, Kate asks her to save the pieces because she can use them in her mosaic table. Ellen finally tells Kate she thinks the Minnies are like a cult group.
George, on the other hand, throws his daughter a bone; he asks her to write an introduction to his collected essays. She is flattered, although a little wounded that he then immediately asks her, in more or less the same spirit, to launder some shirts.
As winter unfolds and Kate's illness grows more severe, Ellen begins to suspect things about her father, and her mother observes this and finally tells her: “There's nothing that you know about your father that I don't know--and better.” And we see that the buried story of the movie is the hurt Kate has borne all these years over the way her daughter's love was quietly directed away from her.
It is the craftsmanship that elevates “One True Thing” above the level of a soaper. The director, Carl Franklin (“One False Move”), goes not for big melodramatic revelations but for the accumulation of emotional investments. Hurt and Streep are so well cast they're able to overcome the generic natures of their roles and make them particular people. And Renee Zellweger, as Streep observed at the Telluride Film Festival, is able to create a place for herself and work inside it, not acting so much as fiercely possessing her character. The movie's lesson is that we go through life telling ourselves a story about our childhood and our parents, but we are the authors of that story, and it is less fact than fiction.
4 ) Sweeten the pain
生活不会一直如你所愿。当女儿在某一天突然发现一直高大慈爱的父亲自私和软弱的一面时，眼睁睁看着自己的榜样和信仰在自己面前瓦解，那样的打击几乎是让人崩溃的。女儿选择质问父亲，改变对母亲的看法，她选择了面对和认同，在和母亲相处的过程中她感受到了另一种快乐。母亲是一个乐观散发着光芒的人，但其实她也并不是生活中没有黑暗，但她努力不让这一切影响自己，去照亮生活中的一切黑暗。我们身边也有许多这样的人，像母亲那样的，无论在多难的境地都能散发光的人。
5 ) 看不见的黑洞
在我看完这部片子的时候，母亲一期化疗已结束，此时癌已大大改变了母亲，说话变的无力、饮食也没了食欲，不变的是下午只要条件许可的话依然会找几个麻友小聚。
影片中艾伦从在一个小镇的大学城里长大，作为哈佛优秀毕业生，她在纽约找到了一份不错的工作，生活充实而丰富。一天，她回家探望已届中年的父母，却被告知母亲得了癌症。父亲希望艾伦能回家照顾母亲，艾伦不情愿的回到父母身边，渐渐地，原本生疏的母女关系发生微妙的变化，家人在过去和现在生活中最真实的一面呈现在她眼前，母亲并非她曾认为的软弱胆小、碌碌无为，而是一位聪明坚强的女性。发现了父亲的很多黑暗秘密。母亲平静的去了，艾伦却受到谋杀母亲的起诉。故事的结局很是耐人寻味：经历了种种是非的艾伦，终于看清了自已内心真实的渴望，选择了自己想要的生活。
生活总是这样简单而又复杂，不简单的是影后梅丽尔·斯特里普自身的张力，不复杂的也是她对生活的天然的理解力，以至于在我打下这段文字的时候，脑中还清晰留着那个扎着两个小辫子扮爱丽丝的可爱状的母亲，还有那个头发已经稀疏躺在浴缸起不来也不愿向女儿求助的瘦骨如柴的母亲。
我不能说太多，我已泪流满面，人生只有一次，我那平凡而俗气的母亲，我该怎样面对你的离开。
6 ) 破碎的盘子—特别的装饰
如果不是演员表，可能就被亲情无价这个名字劝退了，因为家庭伦理片很容易烂俗，用狗血堆叠情感。
女儿从小崇拜文学教授的父亲，对家庭主妇的母亲不屑一顾，母亲罹患癌症打乱了家庭的正常生活轨迹，也打破了美好家庭生活的滤镜，一心追求事业的女儿被迫停职照顾母亲，而女儿眼中曾经完美的父亲却对妻子的患病无动于衷甚至疑似出轨，情绪不断升压，以至女儿与父亲终于爆发了严重的冲突，然而病入膏肓的母亲却凭借一颗强大的当家主母之心化解了一切，女儿也在照顾母亲的一点一滴中慢慢体会到母亲对生活强大的驾驭能力，而正因此使母亲成为父亲爱和依赖的港湾。
影片中穿插的几回补盘子的画面其实暗示了爱与亲情的主题，没有一个人是完美的，也没有一个家庭可以完全没有裂缝，曾经美轮美奂的盘子打碎了，如果扔进垃圾箱，会成为记忆中永远的痛点，而一块一块粘合起来，却可以成为另外一种装饰品。如何接受亲人的不完美而依然去爱去包容，母亲用自己的一言一行教会了女儿。粘合碎片的人一开始是母亲，因为她“最擅长装饰”，而女儿却在最后，用母亲因为病痛极度痛苦而发泄摔碎的盘子完成了这件特别的装饰品。坐在母亲床边，女儿说盘子完成了，母亲欣慰的笑了。
美好并不是生活的原貌，一切美好都源于精心打造，而打造美好的能力，只能是爱。
很平实的电影，没有一丝造作，完全还原生活。谈不上大爱，和经历有关...
最近看了一些美国上世纪80年代90年代的家庭电影，觉得我们也在经历这些伦理问题，只不过美国早几十年经历过。虽然这部电影评分很高，但是抱歉我真的喜欢不起来。一个出轨的丈夫居然老婆孩子都理解并原谅，这不是我的价值观，我也不能理解这种所谓的人性化。如果反过来是老公癌症老婆出轨，是不是要拍成老婆不离不弃照顾老公？
宁要讨饭的妈不要当官的爹，同样身为女人的女儿居然要等妈妈濒死了才搞懂这个道理？
22:02，六公主的艺术影院开始播放这部美国译制片。今天一天我依旧处于idle的状态，早上10:21醒来，算是睡了个懒觉吧，近些天我一直在调整作息，第一个突破口就是睡眠，要知道我过去五年睡眠毫无规律可言，走出阴霾的第一步就是先把生物钟调整过来，已经连续一周没有超过1点入睡了，这是一个好的信号。这会儿我躺在床上，跟往日一样，开着电视然后慢慢入睡，迎接一个新的梦乡。最近我一直用六公主晚上10点档的电影来标记心情的坐标，也是我的一个树洞，不用跟朋友倾诉，就当是我350字的日记板了。白天我把所有的塑料袋购物袋包装袋铺平整理了，虽然房间没有焕然一新，但也感觉空间宽敞了许多。今日阳光普照，冰雪消融，心情明媚。晚安，Christan。【CCTV-6】
唉 为啥我没get到点，看不懂父亲究竟是个对感情负责还是不，工作狂的女儿放弃工作回家陪伴生病的母亲，全程没有任何感动的点，母亲为了维持表面的关系选择隐忍或牺牲自己，展现大爱，也没有特别打动到我。这么高的评分不敢苟同，难道是我很冷血吗
被眼眶泛红、情绪失控的梅姨折服（步入中年愈发明白人的归宿终究是死亡。亲人间因疾病生出的嫌隙、怨恨，我在生活中已体验过，所以当看到父亲要求女儿为家庭做出牺牲，以及他利用了女儿对他的崇拜还认为理所应当时，我从心底里觉得他恶心。。。偏偏梅姨饰演的母亲坚持要包容自己的丈夫，而女儿或许因为怜悯选择与父亲和好（一些妇女为家庭穷极一生，甘于奉献，热爱生活，不但自身追求真善美，也教导子女追求真善美，衷心希望她们免于病痛的折磨，最终都能安然地告别这个世界。（PS 弟弟除了节日&葬礼几乎处在离线状态就离谱。。。
女性题材，几乎是小格局的《母女情深》。放在女权盛行的今天来看，实在是颇为有趣且发人省醒。剧本的编写和人物刻画略有失衡，然而斯特里普和赫特的表演很有深度，齐薇格则是令人惊讶的优秀。
本片根据《纽约时报》专栏作家安娜·昆德兰（Anna Quindlen）1994年的同名小说改编
知道谁是自己生命里最重要人，就去爱吧，狠狠地爱。亲情无价，家里人不要忽视！梅姨很赞，BJ也不错！
一個工作狂在聖誕前夕被迫搬回家照顧她身患絕症的母親，以便她的父親能夠專心專注他的學術工作。Ellen一直很崇拜教授美國文學的學者父親George，但不太看得起身為家庭婦女的母親。在照顧母親的過程中，Ellen發現了母親生活的不易，也發現了父親很多鮮為人知的秘密。就在家庭關係的搖擺震盪中，Ellen終於第一次瞭解了自己的父母，也終於找到了生命中最真實的感動。套戲講得幾深下，解釋了為什麼有些婚姻即使有障礙也能持續，就算揭穿了又如何呢，只會毀了一切。
“当你结婚久了，你会开始让步，那是一开始你无法相信自己会做的事。年轻时你会说，我绝对容忍不了。但时光飞逝你们同床共枕数千个夜晚，某个晚上你会对自己说你绝不多忍一分钟。但清晨醒来，厨房飘满咖啡香，孩子自己梳好头发，你看着你的丈夫，你知道他远不是你想象中那样，但他是你的生命。”
“当你已结婚许久，你会开始让步。那是开始时，你无法相信自己会做的事。”alone
爱是细水长流的生活，是年复一年的相互陪伴。
我倒觉得这部Renee-Zellweger的演技更佳，真实而感人。虽然我超爱梅姑!
透彻的寒冷，无疑是这个秋天开始最佳惊悚悬疑剧情片。电影最后是冷透了的双手端上了一杯热茶。透当一个女性在餐桌上为客人倒酒时，没人会在意她是不是一名评判家。男性的工作是事业，女性的工作只是一份工作。女性总是被视为“supporter”，无论任何时候当家庭需要时候就会被要求supporter，不！是任何男性需要的时候，男性天生是“leader”吗？ 人性是复杂的，每日不断抗争
这部电影就跟Renée Zellweger一样，都是好莱坞的遗珠。
“我想说的都说完了，除了我感到悲伤。我悲伤的是我将无法帮你筹办婚礼……若是我知道你将会快乐，我现在就可以闭上眼睛。”病危母亲的坚强实属伟大。
98年的片子多么的细腻感人，毫无造作修饰，梅姨收放自如早已无须多说或被大奖肯定，我是因为HURT先生才看的，如果我选演JOBS的演员，第一个就是他，他太适合这种人物形象了，父亲/政客/商人/文学家，不认为芮妮适合演女儿，这角色也有些过于黑暗了！
▤「It's so much easier to be happy, my love. It's so much easier to choose to love the things that you have, and you have so much, instead of always yearning for what you're missing, or what it is you're imagining you're missing. It's so much more peaceful.」
略平庸的译名，平和地讲述人生最后的陪伴与失去。梅姨的角色很像我的母亲。